ON FREE PUBLIC VIEW 
AT THE AMERICAN ART GALLERIES 


MADISON SQUARE SOUTH, NEW YORK 
BEGINNING TUESDAY, JANUARY 241x, 1922 


AND CONTINUING UNTIL THE DATE OF SALE 
FROM 9 A.M. UNTIL 6 P.M. 


THE NOTABLE 
PRIVATE. COLLECTION 


OF 


MODERN PICTURES 


BELONGING TO THE WIDELY KNOWN ANTIQUARIAN 
DIKRAN KHAN KELEKIAN 


OF PARIS AND NEW YORK 


TO BE SOLD AT UNRESTRICTED PUBLIC SALE 
BY ORDER OF THE OWNER 


ON THE EVENINGS OF MONDAY AND TUESDAY 
JANUARY 30TH AND 31st 
BEGINNING AT 8.15 O’?CLOCK 


IN THE GRAND BALLROOM OF THE PLAZA 


NINE WEST FIFTY-EIGHTH STREET 


ty) 


Heo ol CATALOGUE 


OF 


THE NOTABLE COLLECTION 
MODERN FRENCH PICTURES 


A GROUP OF THE WORKS OF THE NOTED AMERICAN ARTIST 
ARTHUR B. DAVIES 


FORMED BY AND BELONGING TO 


THE WIDELY KNOWN ANTIQUARIAN 


DIKRAN KHAN KELEKIAN 


OF PARIS AND NEW YORK 


moeBE SOLD. AT UNRESTRICTED PUBLIC SALE 
IN THE 


GRAND BALLROOM OF THE PLAZA HOTEL 


(ENTRANCE, NO. 9 WEST S8TH STREET) 


ON THE EVENINGS HEREIN STATED 


THE SALE WILL BE CONDUCTED BY 
MR. THOMAS E. KIRBY 
AND HIS ASSISTANTS, OF 
THE AMERICAN ART ASSOCIATION, Manacers 


MADISON SQUARE SOUTH 
NEW YORK 


/ Je AY 


- THE AMERICAN ART ASSOCIATION 
DESIGNS ITS CATALOGUES AND DIRECTS Looe 
ALL DETAILS OF ILLUSTRATION 3a 
TEXT AND TYPOGRAPHY 


“ 


THE KELEKIAN COLLECTION 


A FOREWORD 


By Seymour pe Riccr 


It is an unusual piece of good fortune for an art-critic to be called upon 
to introduce to the American public the Kélékian collection of modern French 
paintings. Never has such an instructive gathering of masterpieces by the 
most significant artists of the last hundred years been brought to the attention 
of this country. This is by no means the idle phraseology of a catalogue- 
preface, but the firm conviction of one who has known for many years Mr. 
Kélékian, his paintings and many of the masters who created them. 

It is not saying too much to assert that a detailed appreciation of the 
Kélékian collection would be a substantial history of the most essential features 
of modern art. Such an appreciation I dare not venture to give in this short 
preface. All the more so as my readers will* find reprinted hereafter two 
enlightening studies on the Kélékian collection, by two recognized masters of 
the pen. ‘To the New York public and to all visitors of the Metropolitan 
Museum, the name of Mr. Roger Fry is pleasantly familiar. His strong artistic 
personality, his exquisitely sensitive love, both for the Venetian primitive 
colorists and for the most refined exponents of impressionism and post-impres- 
sionism, his fearless sincerity founded on the solid certainty that many backers 
will always support him, the incommensurable services he rendered New York’s 
greatest picture gallery, now, thanks to him, one of the world’s greatest 
galleries—all these characteristics enhance any judgment from his pen with a 
fascinating and compelling authority. 

Monsieur Arséne Alexandre has long deserved to obtain in this country 
the high rank of notoriety he enjoys in France. A facile and prolific writer, 
a splendid journalist, an indefatigable champion of liberty and progress in all 
arts, a delicate appreciator of past ages’ refinements, he has known in his 
country every recognition that a grateful nation can shower on a talented 
son. His preface to the Kélékian catalogue may truly be said to have been 
written con amore. Mr. Arsene Alexandre not only loved these pictures, 
several of which he had owned himself in his younger days; he loved their 
authors, many of whom he had personally known and fought for. Thirty 
years ago, when the great impressionists of France were jeered at by Academic 
ignorance and short-sighted prejudice, Mr. Arsene Alexandre stood out fore- 
most among the little band of writers who upheld the sacred banner of artistic 
liberty. To-day, his age and experience, his glorious fighting past and present 
authority, give to any utterance from his pen a singular and deep attraction 
for all art-lovers. 


Mr. Dikran Kélékian is so well known to all European and American 
connoisseurs that it would seem superfluous to presume to introduce him. His 
warm and sympathetic personality is, however, so strongly impressed on and 
expressed by his whole collection that I cannot refrain from a few words on 
the unique character of this art sale. 

A native of Persia, he has, all his life, lived among the antiquities of 
successfully dealt in Egyp- 
tian, Assyrian, Chinese. and Sassanide art. Greek, Roman and Byzantine 


the nearer East. He has—as everybody knows 


objects have always crowded his cases. Of late years, his attention has been 
extended to the Middle Ages, and many beautiful Gothic and Renaissance 
pieces have passed through his hands. Is it not, for a casual observer, some- 
what surprising that modern art—yea, the most modern of modern art— 
should so strongly have attracted his attention? The reason is that the whole 
of Mr. Kélékian’s training as a collector and a dealer has been directed towards 
a keen appreciation of the continuity of artistic tradition. We no longer 
believe to-day in the time-honored division of ancient art into a certain number 
of watertight compartments. We know nowadays—and it is one of the 
greatest conquests of modern science—that the whole artistic tradition, from 
the paleolithic age to the present day, is one continuous tangled skein of 
many-colored threads. To single out from this skein any one thread of 
tradition, requires a tremendously keen artistic intuition such as can only 
be acquired by long years’ familiarity with works of art of every age and 
description. Books cannot teach it and many hours spent in libraries and 
museums are often of little avail. In the few instances I can think of, it is 
a born feeling for quality, an innate love of beauty, a second sense for the 
finer and less visible trails of tradition. Few collectors, fewer museum direc- 
tors, ever acquire that sense, and it is a great pity, inasmuch as something 
will always be lacking from their houses and their galleries. One of the 
greatest of all French amateurs, Monsieur Jacques Doucet, knew well what 
he was doing when he hung on his walls a still-life by Manet between two 
paintings by Chardin and when he intermingled in his rooms the dainty prod- 
ucts of French eighteenth century art and the archaic splendors of early 
Persian and Chinese ware. If Mr. Kélékian had not been intimately familiar 
with the glories of the East and the magnificence of Byzantium and Ravenna, 
he never would have succeeded in selecting from the French art of a whole 
century practically all that was truly significant and practically nothing 
else. Neither would he have brought together a gallery which will perpetuate 
his name among art-lovers of the future. 

May I also add that he enjoyed the privilege of picking and choosing 
from some of the most select collections formed in the last generation and 
that we find on his walls the flower of the celebrated galleries of Roger Marx, 
Cheramy, Manzi, Hansen, Mirbeau, Flameng and Rouart, truly a quintessence 
of quintessence, a selection from houses where everything was select. 


Mr. Kélékian could—if he had felt so inclined—have picked up the warp 
and woof of evolution at a fairly remote period; for instance, at the Renais- 


sance. He might then have led us from Tintoretto to Greco, from Hercules 
Seghers to Rembrandt, from Rubens to Watteau, from Vermeer to Chardin. 
He has preferred to limit his efforts to a shorter period, that of the last hun- 
dred years. And even then, he has reduced to a minimum the representation 
of some of the most characteristic masters. Goya is illustrated by a single 
powerful sketch, and Ingres by two highly pleasing portraits. Nearer to our 
days we find only one Millet, a drawing, it is true, of great importance, and 
only one Constantin Guys. Other artists are likewise only present in one 
example, but of paramount importance, such as Manet with his celebrated 
“Chez Tortoni,” or Gauguin with his group of “Tahitian Women,” one of his 
most typical masterpieces, or Claude Monet with his “Bridge at Argenteuil,” 
a striking instance of his most felicitous mood. 

The collector, anxious to illustrate his most intimate preferences by 
concentrating his efforts on a few unrivalled artistic personalities, has chosen 
to impress on our eyes the greatness of such super-men as Corot, Delacroix, 
Daumier and Courbet, as Degas, Renoir, Lautree and Cézanne. These eight 
names synthetize French art from 1840 to 1900 in its greatest and noblest 
efforts towards freedom and towards expression. 

Corot we have here under his strongest aspect, as a portraitist and figure 
painter, not only—as the crowd believes—the eternal illustrator of misty 
dawns on the river. The only Corot landscapes are his striking “View of 
Chateau-Thierry” and a fresh and youthful vision of his earliest Italian 
manner, so highly appreciated by French collectors. 

Delacroix, the greatest revolutionary in the history of painting, stands 
out boldly with his “Giaour and Pacha,” with his “Hercule et Alceste,” with 
his inspiring “Garden of George Sand” and above all with his celebrated and 
fascinating “Paganini,” in which he embodies much of the fantastic humors 
of a Velazquez. 

Of late years, Daumier has been steadily coming into his own as one 
of the greatest painters of all ages. Three tremendously powerful sketches, 
the celebrated profile of a woman from the Mirbeau collection and the more 
sedate portrait of Lavoignat, formerly the gem of Mr. Viau’s gallery, show 
us varied aspects of his multiple genius. 

Courbet, about whom so much was written in America a couple of years 
ago and whose works were so highly admired in this country at several memorial 
exhibitions, fills here a whole wall. His “Guitar-player” shows his close rela- 
tionship to Corot; the portrait of his sister is of the same quality as the great 
“Atelier” for which the Louvre paid such an astounding price; the “Dog’” 
recurs in his celebrated “Enterrement d’Ornans” at the Louvre; the “Flower- 
piece,” the view of “Lake Leman under Snow,” the dashing and daring De- 
moiselles du bord de la Seine,” a first study for the famous picture in the 
Petit Palais, at Paris, display the manifold aspects of his immensely varied 
art and form a stately array of masterpieces which the Louvre alone could 
surpass. 

Of Degas, little could be said which is not present to every mind; of 
Renoir little need be said in the city which deprived France of the painter’s 


masterpiece, the “Famille Charpentier,” even if I do find it difficult not to 
linger before his portraits and before the exquisite decorative panels he painted 
in 1879 for the Docteur Blanche. 

Toulouse-Lautrec likewise speaks for himself and in no silent tones, with 
such forceful masterpieces as, for instance, the famous portrait of Cipa 
Godeski. Seurat, another genius unfairly judged by most men of his own 
generation, is here present with his exquisite Poudreuse from the collection 
of his friend Fénéon. 

Cézanne, whose greatest audacities seem now almost timid and restrained 
requires no further comment, even to draw attention to the luminous “Land- 
scape,” the tender “Portrait of his Wife” or the majestic “Nature morte” 
from the Gangniat collection, doubtless the most important of his still-life 
pieces which will ever have been sold at auction. 

Nor has Mr. Kélékian confined himself to the illustrious dead. ‘The 
most brilliantly endowed of living French artists are here exemplified by care- 
fully chosen works. Matisse, Picasso, Bonnard, Vuillard, the great landscape 
painter Guillaumin, Derain, a painter whose works have much increased in 
value and will increase still more, are but a few of the names which will strike 
the reader of the catalogue. 

A few foreigners complete this great ensemble: Van Gogh, too close to 
the French impressionists to have been omitted, Mary Cassatt and Arthur 
B. Davies, the most refined and tasteful of American classics; last, but not 
least, Whistler, whose exquisite ‘‘Chelsea Girl” once belonged to the most 
gifted and seductive of his pupils, an American lady well known to all lovers 
of Paris and beauty. 

It is with a sigh that I close this enumeration; a few days more and this 
gathering of wonderful paintings will be dispersed. As a Frenchman, I cannot 
but regret that so many masterpieces are leaving France instead of adorning 
our great museums; as a Frenchman also, I cannot but be proud of the success 
that these silent ambassadors have achieved at Chicago, on the walls of the 
Metropolitan Museum of New York and in the spacious halls of the Brooklyn 
Museum where for several months they have been exhibited. May the lesson 
they teach not remain without fruit, may they continue to teach it in their new 
homes; may they bring joy into more houses, love of beauty into more cities 
and may they stimulate in the hearts of all those who see and admire them 
the higher and greater virtues of patience, labor and probity, by which their 
illustrious makers will live in the memory of future generations. 


THE KELEKIAN COLLECTION 


By ArsENE ALEXANDRE 


Inspecteur Principal des Musées Nationaux 


Around the central cupola of the National Gallery in London is displayed 
a solemn inscription in letters of gold. 

The traveler, who has been lifted up into lofty spheres by the majestic 
beauty of the treasures gathered about him, instinctively lifts his eyes, as if 
to seek from above a ray of light to pierce the darkness, an answer to the 
noble problem of art, a problem always before him, but never solved. 

This inscription reads somewhat like this: “The works of those who have 
stood the test of ages, have a claim to an admiration and respect to which no 
modern can pretend.” 

At first, the traveler impulsively agrees with this, heart and soul. How 
could he bargain with his feelings, and how would he even question the grati- 
tude he owes to those who have revealed so much to him, who have been a source 
of such deep consolation? Nevertheless, he ponders. He looks about him 
once more. After Fra Angelico, Botticelli, Piero della Francesca, he sees 
Michel-Angelo and Raphael; after these, Titian, Tintoretto, Veronese; then 
comes Holbein ; then again, Rembrandt, Rubens, Vermeer; and again, Velasquez 
and Greco; and Poussin, Claude, Watteau, Reynolds, Gainsborough and then 
the great magician, Turner. 

Then he tells himself that the sentence, so eloquent and peremptory, might 
have been engraved successively, at the end of each one of these branches of 
immortality. At the same time, he remembers one point which has always 
troubled him, a question at once fascinating and serious: “What would each 
one of these great conquerors of Time (with the help of some perfect machine 
made to explore the future—a machine which a Wells might have imagined— 
applied to the esthetic) think of the wrestlers who have succeeded them, up 
to and including those of the present moment which we are in vain endeavoring 
to retain? 

The beauty and interest of this question are not the witticism—jeu 
d’esprit—of an idle curiosity. The import of it is far greater. It amounts to 
this; what affinities, what analogies, what relations, or what contrasts, exist 
between the works of the past and those of the present? 

The problem is not one of to-day. The “ancients” and the “moderns,” 
in the seventeenth century, not to go back any further, discussed it at length, 
and the case is still at issue in our own day, though under other forms, more 
freely and less dogmatically discussed. 

Mr. Degas used to sum up the case in a witty manner, with the following 
apologue which, through modesty, he denied being the author of. He used 
to imagine an old master—say, Raphael, to whom the works of a modern 
painter—say, Manet—were being submitted. At first, he would frown—as 


much as we can imagine Raphael frowning; then almost immediately, would 
become serene once more, and say: “This is curious, nevertheless . . .” After 
which some one would show him the masterpiece of an academic celebrity—say 
Bouguereau—and then, in a really bad humor he would exclaim, “Ah! in this 
case they will say, I am to blame!” 

However, savory as M. Degas’ parable is, it is, after all, only what 
we call a fashionable solution. It does not even go to the root of the subject. 

We discover, if not certainties, at least horizons infinitely vaster and 
ever new, in drawing more closely together the qualities and forms by which 
we became masters, as the great masters of the old school did, our seniors who 
preceded us, and our contemporaries. To consider only a few examples, and 
to make a few comparisons—full of revelation—let us compare the Assyrians 
and Barye; Phidias, Michel-Angelo, Puget; then Verrocchio and Donatello, 
with Houdon, Rude and Carpeaux; or again, place together Vermeer and cer- 
tain figures by Corot; a Rubens and a Delacroix; look at Daumier, then 
Hokusai; Watteau, then Koriusai or Harunobu—I have just discovered 
that not only must period with period be joined, but periods of time and place, 
in a study which is so marvelous in its consideration but so tremendous in its 
undertaking that artists, their students and ardent admirers, will never be 
able to pursue it only step by step, feeling already dazzled by its great 
brilliance. 

And so, we at last understand—and that is already a great victory won 
—that the problem had always been badly stated, and that the question at 
issue was not a quarrel between the “tancients’—those of the old school—and 
the “moderns,” but indeed of an uninterrupted harmony. Once this point of 
view is grasped, the consequences are seen to be innumerable, and the applica- 
tions very practical and clear. “‘Eclecticism” becomes a greater intelligence ; 
there is no longer “‘dilettantism,” but a more awakened and keener sensibility 
—and we would be tempted to believe that, art being the real torch which pre- 
cedes the march of humanity, social problems, by means of an analogous prin- 
ciple, might one day be solved just like the esthetic problems themselves. 

Nevertheless, without traveling so far in the unknown, let us rejoice when 
we see the demonstration of these elating ideas realized in acts and productions, 
or, better still, in a man influenced by art. 

Let us suppose this man to possess a well-developed sense of taste, and to 
be an enthusiast by temperament as well as one trained in his profession. This 
amateur in art has seen, and very often handled, many treasures which this 
earth has jealously guarded for many centuries, or which were lying forgot- 
ten at the door of unknown or forgotten sanctuaries. Legendary lands, on 
whose soil so many struggles were fought, where buried deep in earth’s bosom 
slumbered, the witnesses of dethroned splendors, revealed to him at last the 
many secrets that were theirs. And thus he learned of many marvels, and 
passed them on, in turn, and dwelt familiarly with the masterpieces of Egyp- 
tian, Persian, Hellenic, and Byzantine art. The best works of our French 
art in the Middle Ages have claimed and held their place in collections along- 
side of these grand vestiges of ancient art. 


Again, he looks about him. After having searched in the very heart of 
ancient empires, his inquisitiveness and passionate love of art drew him to 
more recent fields of growth and expansion. Without any effort, but very 
naturally—and with the same pleasure, he enjoys the productions of modern 
talent like the works of the masters of the old school (and little persuasion 
would be needed to have him invert the terms, and that modern genius appear 
to him as the harvest—the reaping—of ancient “genius”). In truth, he per- 
ceives the secret affinities and the visible harmonies. No preconceived idea 
guided him, no concession to accepted standards of the time, only a simple 
and spontaneous adherence to the logical in beauty. The fact is that he recog- 
nized, not the antagonisms, but the similitudes. 

This figure, which we have often imagined, is the portrait of M. Kélékian, 
and the result of this mental evolution, as concentrator—if one may use the 
expression—of precious works, is found in the collection of works of modern 
artists of which this album is destined to preserve the souvenir, in a faithful 
and integral manner, for the small number of those persons who can appreciate 
and understand its importance. 

In the enamelled surface of a painting by Cézanne, he will have found 
again the enamel of a piece of faience of Persia or Rhodes. In the pen- 
sive charm of a face painted by Corot or Renoir, though veiled and indirect 
in its relation—but none the less real—he will have perceived instinctively cer- 
tain similitudes with the aristocratic lineaments of a priestess of Isis, the profile 
of which, though very slightly colored, makes on the stone a very faint but 
very powerful bas-relief. 

I also build up associations and successions of ideas even more mysterious, 
where perhaps the collector has not himself realized the fact as clearly as the 
expression of the same in words would make him realize. Why would a partic- 
ular scene from the classics mean so much and be so dear to him, when brought 
forth to life again by a Painter-Poet, were it not because Delacroix’s imagina- 
tion was fired upon the reading of Euripides’s “Alceste,” and “that he saw 
in colors” the rhythm and pictures in the work of the great tragedian, and 
that these pictures and this rhythm are, in their turn, but one and the same 
thing with the admirable Greek sculptures which were acquired by this col- 
lector? 

In another moment, you yourself will possess, in reproductions—the ex- 
actness of which regarding form and values has been the object of the greatest 
and most expert attention—this résumé of an entire portion of a period of 
French art in the nineteenth century. I mean by this, first of all, that school 
which is represented by masters most typical of this period, then by offspring, 
less dedicated to, but far more directly related to the great artists of the past, 
than those who thought that copying them was succeeding them. You can 
then return to the predecessors of long ago and find them either through the 
antique windows of Mr. Kélékian’s collection or those of the Louvre or British 
Museum. But then, either suddenly, or after an incubation period, the points 
in common will appear to you in the details which won your admiration. 


It may well be said that this way of grasping the awsthetic relation existing 
in the works of the artists of the most distant periods is truly an achievement 
in modern thought. However, one must be modest, and admit that this idea 
is merely at its dawn, but is one that will lead our disciples to many other 
beautiful and more assured discoveries, 

Already, the comparison of paintings here brought together is a source 
of much pleasure and ever-new reflections, just as when one gazes upon a rich 
country from a height and from different positions. I can only point out a 
few of these beautiful sites, but your own mind will easily find others, for a 
picture expresses infinitely more than words, and he who here attempts to 
obtain general ideas of a collection so rich in thought has always looked upon 
descriptive criticism as useless. 

It is impossible to imagine a more magnificent and more brilliant setting 
than can be found with Delacroix. Two easel paintings which are considered 
among the artist’s best works by every one whose heart can still be made to 
throb by this marvelous visionary, seemed like two beautiful loves of one’s 
youth, when I saw this ensemble for the first time. ‘‘Alceste,” so deeply, so 
essentially tragic, between his incense-burning altars and his incandescent 
Tartar! The queen, in the arms of Hercules, utterly prostrate, and dead even 
in her resurrection! What accents, at the same time, in both the classical and 
modern poetry, and how this first painting, in its least stroke, sums up all the 
thoughts which require so many words for expression! ‘Then comes the tiny 
and great “Paganini,” the complete incarnation of Romanticism. Ever-mem- 
orable sight ! 

This is not all. The sketch of one of the angels in the Chamber of Depu- 
ties may be one of those which inspired, most logically, the master of “Ovid 
(with) chez les Scythes” ;—then the small painting of “Duel of the Giaour and 
Pacha,” painted from precious stones ground together ;—and finally, in order 
that we may penetrate more intimately into Delacroix’s work, a shady corner 
of “Garden of George Sand.” Here Nature and the supernatural unite, a 
magnificent Prelude. 

With Ingres absent we might have been accused of a little partiality. 
Two sketches, one a less touching “Paganini,” represent very well the sub- 
lime Pedant. But it is easy to understand that I am anxious to leave the 
emotions of Delacroix to go on to draw from another marvelous source; viz., 
the Virgilian serenity of Corot. 

The few paintings we find here by him are charming, but there are three 
especially fascinating ones; a general view of ‘“‘Chateau-Thierry” with the 
surrounding landscape; a small “View of Albano,” and a “Portrait of a Young 
Blonde.” One cannot gaze upon this small French landscape without delight 
—and with a heart-throb—for nothing can be more limpid, richer nor more 
beautiful; and one recalls the still recent martyrdom of all this Virgilian charm. 
Little masterpiece, doubly dear to all those for whom France is a second father- 
land! . . . In these reduced dimensions, the Italian landscape recalls to mind 
the lines in the “Priest of Nemi,” lines which have the same purity of form 
and color as in Corot: “I will never believe that a wicked and blood-thirsty 


spirit dwells under this wonderful mass of trees, as old as the world, which rot 
and return to life of themselves, on the shores of this beautiful bowl of the 
lake.” 

As for the portrait, there are the same depths of expression and charm- 
ing touches just as in the landscape. Chaste and modest creature, whose 
contemplative spirit reveals itself in the hand pressing her brow, and the timid 
dreamy nature by the few flowers in her other hand, which barely relieve the 
severe lines of the black dress—we could not find in her the heroine of a novel, 
but if we had to choose a sister, it would be she! . . . 

The time of Corot! Although in the present day we seem to be getting 
further and further away from patriarchal traditions, Corot’s period will ever 
be for us one expressive of tenderness and greatness. This is the reason why 
we would not be surprised to find in a man who understands and loves this 
apostle of the beautiful in art, reminder of his contemporaries, they too, men 
upright in conscience, true to Nature. Millet is heart and soul in his simple 
drawing of the “Blés murs” (Ripe.corn-fields) ; Barye, in that aquarelle of 
“The Leopard Sleeping” (Léopard au Repos), and lastly, Daumier in his 
powerful sketches of “The Burden” (Le Fardeau), Portrait of a Woman, and 
many others which have become such striking examples; and even up to Guys, 
“the modern man” of Baudelaire, the illustrator par excellence, every one of 
whose drawings, like these two “Cocodettes Watching a Team Go By,” eclipses 
the works of our innumerable “instantaneous” artists which lack in originality. 

What Daumier could have accomplished, had he been free from the 
restraints imposed by his “profession” and family conditions, and what he 
proved capable of doing, sufficiently so to keep his place in the first rank, 
Courbet did fully accomplish, in ample measure, and with masterly ease. He 
was not the continuation of a school (for he is very distant from the masters 
of Fontainebleau, in conception, and even personality), but he is an evolution, 
which is none the less astonishing. He introduced a poetic conception of his 
own (these words would have made him bound, but things must be seen as they 
are), in his technique, which is only that of the Flemish, or Spanish masters, 
combined. His horror of allegorical subjects did not keep him from painting 
allegories, call them “real” if one will. The splendid study for the “Young Girls 
of the Banks of the Seine” (Demoiselles des bords de la Seine) ; the gloomy 
and profound portrait of a woman in black with red cuffs and collar, a kind 
of Gioconda of la Franche-Comté, the robust and artless portrait of a girl in 
white and blue, which seems the work of a young peasant who divines the art 
of painting; the tragic landscape of the lake buried under snow; so many 
paintings which, in the collection, show Courbet—also a rich painter of flowers 
—in every aspect. Again, one might say smilingly, under still another aspect, 
for “The Man with the Guitar” (Homme a la Guitare), the Gastibelza of 
realism, with his scarlet stockings, his doublet, his rustic “byronism,” is the 
blending of strange elements, but how perfectly done! the picturesqueness of a 
Johannot, the rich subject matter of a Metsu, and to boot, the uncertain 


enemy which he—the naive one !—thought he had felled; viz., sentiment. After 
all, Pierre Dupont, the song-writer of the “Grands Beeufs,” he too had en- 
camped his “homme rouge” in his romance, the “Louis d’or.” 

Since we are proceeding analogically, instead of chronologically, we will 
next consider Manet, who is at the same time very different from and yet very 
like Courbet, very different from him in his aristocratic and nervous tempera- 
ment, but very like him in his “direct vision,” and in “his tradition in tech- 
nique.” It was necessary to make note of Manet here, before we pass on to 
Degas, for his light and dainty feminine pastel sketch, as well as the young 
man writing, bring him to mind at this point. Degas is a dominating figure 
in this collection, just as he was that of a whole period, which now seems as 
far removed from us as the days of the masters whom we have just seen file 
by, and whom we hardly dare term as modern. Degas was a queer and 
dominating personality. We cannot consider him as a revolutionist, for his 
art, his education, his tendencies, his style, all are strictly classical; again, 
it is impossible to consider him as a bulwark of classicism, for he has over- 
thrown so many barriers, freed himself from set forms, and in a word, like 
Victor Hugo, who boasted of having done the same for the sake of poetry, 
enriched the pictorial dictionary. Without entering into these purely estheti- 
cal sides of the question, let us enjoy some of the many and typical examples 
of his principal characteristics: movement, as seen in the two dancers seated; 
mass in the form, as seen in the stout woman viewed from the back; clear 
delicacy in color, in the “Toilette” with the coral-rose water jug; the classical 
drawing, with the little girl, from the Manzi collection, and the sketches from 
the Italian masters; the modern element in the ‘‘Milliner” (Modiste), in a 
curious posture, taken from life, and lastly, the severe and sober style of the 
début with the splendid portrait of the woman and little dog. Nothing can 
be said about this, because the magic element in the sketch cannot be ex- 
plained. 

It is quite natural to note here Toulouse-Lautrec, so very original, in 
spite of his conection with Degas. He is well represented by several of those 
clear-cut portraits, and descriptions of fallen women, where the painter has 
dissected his models with implacable distinction. 

With pleasure, we note, alongside of Degas, the great artist, not his 
pupil, but his disciple, Miss Mary Cassatt. Portraits of women of sad and 
haughty mien, and yet full of hidden tenderness, and a strong and bold out- 
line, with rich coloring, produce an ensemble which stamp Miss Cassatt as 
a great artist. 

Another charming sketch must also be noted here, for, though different 
from the others in this group, it is yet similar. This sketch is by Whistler, 
and will always stand out, because it sought and found splendor in shadow, 
and power in murmuring. 

An analogous phenomenon is found in a painter who is at home every- 
where, and in harmony with all. I mean Renoir. Is he not as far removed 
from Degas, or Corot, or Delacroix, or Monet, as from Whistler himself ? 


Truly, Renoir is Renoir, and that is all there is to say about him; #.e., the fas- 
cinating, frolicsome child, the magic cat, the person of instinct, who never 
knew what he had done, nor what he would do, but who never grew weary of 
doing it, just as a child intoxicates himself with music, sunshine and candy. 
My deep affection for this man, whom I knew so well and loved so dearly, 
springs forth again when I see here such perfect specimens of his work; this 
nude form, that wonderful bouquet, one of his finest paintings of flowers; this 
delicate portrait of “Benjamin Godard and his Wife”; these sketches of scenes 
from ‘“Tannhauser,” which, alas, will ever bear witness to the fascinating deco- 
rator he might have been; these various and exquisite trifles, children, flowers, 
little portraits, briluant gems, which he thought nothing of leaving behind 
him, any more than did the inhabitants of the Eldorado the wonderful pebble- 
stones they trod under foot on their roads; and lastly, the beautiful head of 
“Madame Maitre,” which for serious expression is what ‘Madame Charpentier” 
is for the charming and caressing. 

Claude Monet, whose beautiful “Bridge of Argenteuil,” a sketch wonderful 
for its accuracy, finds his place here, with Pissarro, in the chapter devoted 
to what is known historically as the impressionistic school. I regret being 
unable to say more about so many paintings which are at once masterpieces 
of art and documents too, in spite of my statement above on the superfluity of 
comments. 

Even so—but here the fear of literature is greater than the beginning of 
wisdom—there is much to bear in mind relative to the artists who follow, 
while we catch up with those of our own day, the patriarch Cézanne. The 
dithyrambic language which it is now customary to use in mentioning our 
latest conquerors of celebrity has the disadvantage of violating all sense of 
proportion, of falsifying the relations. between the masters of yesterday and 
the combatants of to-day. Words no longer mean anything, and our present 
“writers on art” risk not only wounding the vanity of individuals, but of caus- 
ing actual physical encounters. Some who, like ourselves, are content to enjoy 
what is original in the refined pursuits of a Gauguin, the domain of art, or 
the passionate ones of a Van Gogh, or the caprices of a Bonnard, the har- 
monious and rich expressions of a Vuillard, and even the vast compositions of 
a Matisse, which are much more pleasing than copies of the works of the old 
school; those who are too fond of things in themselves—to find enjoyment in 
the living instead of ‘the dead—though the dead do not let themselves be buried 
—we will be grateful, in the study of the Kélékian collection, for not letting 
ourselves be influenced either by the servile flattery of some or the general 
standards of others. . 

It suffices that we have appreciated and have tried to make others appre- 
ciate the joy of a connoisseur, one equally blessed with enthusiasm and neces- 
sary wisdom to collect, in a coherent and logical manner, examples of original 
works, and to have proved that the new and the old, when both are the result 
of an irresistible honesty and an inspired labor, are but two different ways for 


the ideal aiming. 


FROM “MODERN PAINTINGS IN A COLLECTION OF ANCIENT ART” 
By Rocrer Fry 


in The Burlington Magazine (Number CCXIII, Volume XX XVII), Dec., 1920. 


“Mr. Kélékian’s venture in modern art is of comparatively recent date; 
before that, he was known as the greatest collector and dealer in Oriental 
textiles and pottery. . . . Now he puts forward his modern pictures as yet 
another aspect of his esthetic point of view. . . . The case of Mr. Kélékian, 
therefore, is one of great interest. Here is a man whose whole life has been 
spent in the study of early art, who at a given moment has had the grace to 
see its implications, to see that principles precisely similar to those employed 
by early Persian potters and Fatimite craftsmen were being actually put into 
practice by men of the present generation. . . . 

“His long familiarity with early Oriental art has trained his taste in the 
search for what is really significant in the work of art, has given him a courage 
which has not betrayed him in his choice of modern work. 

“Such a picture, for instance, as the profile by Daumier (Buste de femme, 
from the Octave Mirbeau collection) which frightened most collectors by its 
strangeness, fell an easy prey to his net. Again, a man who had handled so 
many Fayum portraits was not likely to miss the qualities in a head by Matisse 
(Téte de femme) which was so evidently inspired by the same feeling for the bal- 
ance between style and realism. 

“It thus happens that one of the charms of this collection is the occur- 
rence of unusual works, which are not at first sight characteristic of their 
authors, but for that very reason reveal some intimate and unforseen side of 
their artistic personality. Such for example is the surprising Portrait of a 
man by Corot (Portrait de Monsieur Abel Osmond) which in its tense pre- 
cision of form, its hard and clear delineation of planes, might rather suggest 
Ingres than a man who like Corot developed to exaggeration the atmospheric 
envelopment and blurring of form. 

“Or take again the Courbet Snow Scene by a lakeside (La neige sur le 
lac Léman) in which a quite strange quality as of a great visionary painter 
unexpectedly emerges in spite of the doctrine of literal realism which he pro- 
posed to himself. This picture recalls indeed the conscious and deliberately 
poetic handling of some of the great Chinese landscapists of the school of Ma 
Yuan. It has too a certain personal interest from the letter with which he 
dedicated it to the Marquise Colonna. . . . 

“Cézanne, Degas and Renoir are all well represented in this collection, 
but we have chosen (for reproduction—the article reproduced five of the pic- 
tures of the collection) yet another of the earlier masters, Delacroix, It is 
impossible for most Englishmen to share to the full the enthusiasm which 


Delacroix’s name always has aroused in French artists. We are put off by 
the theatrical quality of his vision, and for myself I can rarely understand 
why his color is so much admired. However, I can come to terms with regard 
to so profound and dramatic an interpretation of character as the little 
Paganini discovers. It is indeed a marvellously intense and imaginative con- 
ception, and though the abandonment of the romantic attitude to life seems 
strangely distant and unfamiliar to us now, one cannot refuse to it an imagi- 
native sympathy when it makes so eloquent and so passionate an appeal as it 
does here.” 


WAS 


CONDITIONS OF SALE 


I. Rejection of bids: Any bid which is not commensurate 
with the value of the article offered or which is merely a nominal 
or fractional advance may be rejected by the auctioneer if in his 
judgment such bid would be likely to affect the sale injuriously. 


Il. The buyer: The highest bidder shall be the buyer, and 
if any dispute arises between two or more bidders, the auctioneer 
shall either decide the same or put up for re-sale the lot so in 
dispute. 

III. Identification and part payment by buyer: The name 
of the buyer of each lot shall be given immediately on the sale 
thereof, and when so required, each buyer shall sign a card giving 
the lot number, amount for which sold, and his or her name and 
address. 


Payment at the actual time of the sale shall be made of all 
or such part of the purchase prices as may be required. 

If the two foregoing conditions are not complied with, the lot 
or lots so purchased may at the option of the auctioneer be put 
up again and re-sold. 


IV. Risk after purchase: Title passes upon the fall of the 
auctioneer’s hammer and thereafter neither the consignor nor the 
Association is responsible for the loss or any damage to any 
article occasioned by theft, fire, breakage or any other cause. 


V. Delivery of purchases: Delivery of any purchases will 
be made only upon payment of the total amount due for all 
purchases at the sale. 


Deliveries will be made at the place of sale or at the storage 
warehouse to which purchases may have been removed. 


Deliveries at the American Art Galleries will be made only 
between the hours of 9 A. M. and 1 P. M. on sales’ days and on 
other days—except holidays, when no deliveries will be made— 
between the hours of 9 A. M. and 5 P. M. 


Deliveries at places of sale other than the American Art 
Galleries will be made only during the forenoon following the day 
of sale unless by special notice or arrangement to the contrary. 


Deliveries at the storage warehouse to which goods may have 
been sent will be made on any day other than holidays between 
the hours of 9 and 5. 


Deliveries of any purchases of small articles likely to be lost 
or mislaid may be made at the discretion of the auctioneer during 
the session of the sale at which they were sold. 


VI. Storage in default of prompt payment and calling for 
goods: Articles not paid for in full and either not called for by 
the purchaser or delivered upon his or her order by noon of the 
day following that of the sale will be turned over by the Associa- 
tion to some carter to be carried to and stored in some warehouse 
until the time of the delivery therefrom to the purchaser, and the 
cost of such cartage and storage will be charged against the pur- 
chaser and the risk of loss or damage occasioned by such removal 
or storage will be upon the purchaser. 


NOTE: The Limited space of the Delivery Rooms 
of the Association makes the above requirements 
necessary, and it is not alone for the benefit of the 
Association, but also for that of its patrons, whose 
goods otherwise would have to be so crowded as to 
be subject to damage and loss. 

VII. Shipping: Shipping, boxing or wrapping of purchases 
is a business in which the Association is in no wise engaged, and 
will not be performed by the Association for purchasers. 'The 
Association will, however, afford to purchasers every facility for 
employing at current and reasonable rates carriers and packers ; 
doing so, however, without any assumption of responsibility on 
its part for the acts and charges of the parties engaged for such 
service. 


VIII: Guaranty: The Association exercises great care to 
catalogue every lot correctly and endeavors therein and also at 
the actual time of sale to point out any error, defect or imperfec- 
tion, but guaranty is not made either by the owner or the 
Association of the correctness of the description, genuineness, 
authenticity or condition of any lot and no sale will be set aside 
on account of any incorrectness, error of cataloguing or imper- 
fection not noted or pointed out. Every lot is sold “as is” and 
without recourse. 


Every lot is on public exhibition one or more days prior to its 
sale, and the Association will give consideration to the opinion of 
any trustworthy expert to the effect that any lot has been incor- 
rectly catalogued and in its judgment may thereafter sell the lot 
as catalogued or make mention of the opinion of such expert, who 
thereby will become responsible for such damage as might result 
were his opinion without foundation. 


IX. Buying on order: Buying or bidding by the Associa- 
tion for responsible parties on orders transmitted to it by mail, 
telegraph or telephone will be faithfully attended to without 
charge or commission. Any purchases so made will be subject to 
the foregoing conditions of sale except that, in the event of a 
purchase of a lot of one or more books by or for a purchaser who 
has not through himself or his agent been present at the exhibi- 
tion or sale, the Association will permit such lot to be returned 
within ten days from the date of sale and the purchase money will 
be refunded if the lot in any manner differs from its catalogue 
description. 


Orders for execution by the Association should be written and 
given with such plainness as to leave no room for misunderstand- 
ing. Not only should the lot number be given, but also the title, 
and bids should be stated to be so much for the lot, and when the 
lot consists of one or more volumes of books or objects of art, the 
bid per volume or piece should also be stated. If the one trans- 
mitting the order is unknown to the Association, a deposit should 
be sent or reference submitted. Shipping directions should also 
be given. 

Priced Catalogues: Priced copies of the catalogue or any 
session thereof, will be furnished by the Association at charges 
commensurate with the duties involved in copying the necessary 
information from the records of the Association. 


AMERICAN ART ASSOCIATION, 
American Art Galleries, 
Madison Square South, 
New York City 


s » : 7 

a ah ; a a 
mtg he ae y= =i Ase ee ee at 
. yew cae ; Tt tee i: 


‘FIRST EVENING’ 


MONDAY, JANUARY 30, 1922 ee 


IN THE GRAND BALLROOM 0 


PLAZA HOTEL 


Nine West 58TH Street 


BEGINNING AT 8.15 O'CLOCK © 


; DENIS 
(Maurice) 


Frencu: ConTEMPORARY 


I—ETUDE DE NU 


(Study of the Nude) 
; (Crayon Drawing) 
Height, 1914 inches; length, 24 inches 


In a soft grayish-black, with touches of white, on a buff ground. 


Dedicated to Pascat Dacuano. 


DAVIES 
(Arthur B.) 
AMERICAN: 1862— 


2—ATHLETE 


Height, 91% inches; width, 7 inches 


Figure drawing in black and white chalk on a background of soft 
grayish-azure. 


DAVIES (Arthur B.) 


3—WRESTLERS 
(Gouache) 


Height, 7 inches; length, 16 inches 
BackGrounp a yellowish mahogany-brown, the figures outlined in 


black and executed in white, with touches of purplish-blue, gray and 
mauve. 


DERAIN 
(André) 


Frencu: ConrEMPORARY 


4—PORTRAIT DE JEUNE FILLE 
(Portrait of a Young Girl) 
(Drawing) 
Height, 24 inches; width, 18 inches 
Buack crayon, the outlines though bold yet soft by reason of their 


breadth; the figure very slightly grayed over, against the white 


background. 
Signed at the lower right, A. Drratn. 


fons aMat S. 


MATISSE 
(Henri) 


FRENCH: ConTEMPORARY 


5—TETE DE FILLETTE 
(Head of a Young Girl) 
(Pencil Drawing) 
Height, 19 inches; width, 12 inches 


AN engaging black and white sketch, the drawing free and the notes 
soft. 
Signed at the lower right, Henrt Martissz, 1915. 


DERAIN 
(Andre) 


FrencH: ConTEMPORARY 


6-—NU 
(Nude) 
(Red Chalk) 
Height, 25 inches; width, 19 inches 


Tuer red chalk used with notable effect but just enough of it to pro- 
duce the desired result with the complementary service of the white 
background. 


Signature near lower right corner. 


MATISSE 
(Henri) 
Frencu: ConTEMPoRARY 
7—FEMME NUE 
if (Female Figure in the Nude) | 
| (Pencil Drawing) 
er er hie 3a, inghen aad ee oer 


A pratn lead pencil sketch, of simple outline, directly done, as the 
illustration shows. 
peie Signed at the lower left, Henri Marissx. 


DEGAS 
(Hilaire Germain Edgard) 
Frencu: 1834—1917 


8—PORTRAIT OF M. ROUGET 
(Drawing) 


Height, 7 inches; width, 514 inches 


In lead pencil throughout, in soft, delicate grayish tone, on plain 
white ground. 


At lower left, in lead pencil: Paris, 1850; E. D.” And below tt 
the stamp of the Degas Sale. 


COUBINE 


Frencu: ConreEMPORARY 


9—TETE DE FEMME 
: (Woman's Head) 


(Pencil Drawing) 
| Height, 1614 inches; width, 1114 inches 


FINELY executed, with minute attention to expressive detail, in gray- 
ish-black lead-pencil of soft tonal quality but precise. 


Signed near lower right, CousInx. 


INGRES 


(Jean Auguste Dominique) 
Frencu: 1781-1867 


10—PORTRAIT DE PAGANINI 
(Black and White) 
Height, 9 inches; width, 7 inches 
In lead pencil, with the stock and collar heightened in gowache (Chi- 
nese white). “This drawing, designed to serve as model for the 


engraving by Calametta, has been entirely gone over in lead pencil 
by Ingres, on a counter-proof of the first drawing by the artist.” 


From the collection of Francois Flameng, the stamp of which it bears, at 
lower right. 


os oe 
i 


(| 


7 . INGRES 
ms (Jean Auguste Dominique) 
Frencu: 1781—1867 


11—PORTRAIT DE BERLIOZ 
(Black and White) © 
Height, 7 inches; width, 5% inches 


In lead pencil, the collar tips touched in in white. 


- Signed at the lower right, Incres, DEL., FiorENce, 1824. 


From the Flameng Collection. 


SEURAT 


(Georges Pierre) 
Frencu: 1859—1891 


12—FEMME ET ENFANT 


(Woman and Child) 


(Study) 
Height, 12 inches; width, 9 inches 


CuarcoaL freely used, and yet with restraint, in the figures, on a 
grayish-white ground, its use continued to produce a background. 


PICASSO 
(Pablo) 


FRENCH: CONTEMPORARY 


13—HOMME ASSIS 
(Man Seated) 
(Study) 
Height, 71% inches; width, 424 inches 


CuHarcoaL, heavily used, for the full effect of the figure masses, 
with the white ground reserved and screened for the construction of 


the face and hands. 
Signed at the lower right, Picasso. 


DERAIN 
(André) 


FrencuH: CoNTEMPORARY 


14—GROUPE DE FEMMES 
(Group of Women) 
Height, 16 inches; width, 13 inches 


FLEsu tones arbitrarily conventionalized to ivory and old-ivory hues. 
The background a deep emerald-green at right and left, a conventional 
veiled sky-blue at centre, with grayish and lilac cloud effects above 
and below. 

Signed at the lower right, A. Drratn. 


DERAIN 
(André) 


Frencu: ConreEMPORARY 


v7 


15—DOS DE FEMME 
(4 Woman’s Back) 
(Red Chalk) 
Height, 201% inches; width, 151% inches 


THE red chalk very soft in note, the ground creamy. 


Signed at the lower right, A. Drratn. 


DAVIES 
(Arthur B.) 
AMERICAN: 1862— 


16—FIGURE DRAWING 


Height, 12 inches; width, 9 inches 


Tue headless figure executed in white chalk on a soft paper of rich 
purple, the background hue permitted to come through effectively, 
and utilized in the construction of the figure. 


DAVIES 
(Arthur B.) 


AMERICAN: 1862— 


17—NUDE STUDY 
Height, 17% inches; width, 1284 inches 
In black and white chalk, the black used in outline and for the “do” 


of the hair, and the execution of the figure being in white, on a ground 
of warm red-brown soft paper. 


DERAIN 
(André) 


FrencH: CONTEMPORARY ~ 


18—ETUDE DE NUE tn 
(Nude Study) 
(Red Chalk) | 
Height, 24 inches; width, 1784 inches 


Broapry done, but with sure line, the red chalk of rich, wa 
hue, over a white background. isan | 
Signed at the lower right, 


SEURAT 


(Georges Pierre) 
Frencu: 1859—1891 


19—GARCONNET ACCROUPI 


(Seated Boy) 
(Charcoal Drawing) 


Height, 1244 inches; width, 91% inches 


Dense black, with the ground and background coming through but 
slightly, in a grayish creamy-white. 


CEZANNE 
(Paul) 
Frencu: 1839—1906 


20—DEUX ARBRES 
(T'wo Trees) 
(Water Color) 
Height, 1734 inches; width, 13814 wmches 


In tones of blue and green, mauve and rose and faint yellow, and 
other vague, neutral hues, on a faintly creamy ground. 


DERAIN 
(André) 


FreNcH: ConTEMPORARY 


21—LE PIN 
(The Pine) 


(Pastel) 
Height, 241% inches; width, 131% inches 


THE olive-gray background broadly utilized in details of the composi- 
tion, which is completed in black, white and red, all of soft tone. 


Signed at the lower right, A. D. 


‘Censonn, 


RENOIR 
(Auguste) 
Frencu: 1841—1919 


22—PORTRAIT DE FEMME 
(Portrait of a Woman) 
(Water Color) 
Height, 18 inches; width, 124 inches 

Pink cheeks and pink shoulders, and deep blue eye, and light golden- 
blond hair with reddish tints in its shadows, against a pale orange 
background. ‘The head and shoulders in aquarelle, the arms and body 
sketched in pencil. 


Signed at the lower right, Reno. 


DERAIN 
(André) 


FRENCH: CONTEMPORARY 


23—PORTRAIT DE JEUNE FILLE: DESSIN AU 
CRAYON 


(Portrait of a Young Girl: Pencil Drawing) 
Height, 24 inches; width, 18 inches 


THE penciling in a soft, grayish-black, on creamy-white paper. 


Signed at the lower right, A. Deratn. 


SEURAT 
(Georges Pierre) 
Frencu: 1859—1891 


24—UNE PERISSOIRE: LA SEINE A LA GRANDE 
JATTE 


(A Canoe: The Seine at the Great Bowl) 


Etude pour 
“Un dimanche a la grande jatte, 1884” 


(Study for 
“A Sunday at the Great Bowl, 1884’) 


(Panel) 
Height, 614 imches; length, 9°4 inches 


A. DELICATE tracery and partial screen of emerald-green leaves, with 
interstices of golden sunshine, over a stream shimmering with color 
refractions. An incidental figure in a canoe. Distant creamy-white 
buildings with red tile roofs. 

Signed at the lower right, Srurar. 


LOTIRON 


Fren : 
RENCH: CONTEMPORARY 


25—LE PONT MARIE 
(The Marie Bridge) 
Height, 914 inches; length, 13 inches 
THE bridge buff-gray, the rounding shore of the stream a light creamy 


buff, the stream itself bluish-gray in reflection of the sky and green 
in reflection of the dense green foliage of the trees on either bank. 


Signed at the lower right, Loriron. 


DAVIES 
(Arthur B.) 


AMERICAN: 1862— 


26—SHATED GIRL 


Height, 9 inches; length, 12 inches 


Two figure drawings: one in profile to the left, one in back view. 
Both in white and black chalk, on red-brown paper, the black being 
used for outlines and coiffures. 


MATISSE 
(Henri) 


Frencu: ConTEMPORARY 


27—PETITE FILLE 
(Granddaughter ) 
(Panel) 
Height, 1334 inches; width, 101% inches 


GREEN background; green and black frock with white collar. Red 
locks, set off by a light-yellow and burnt-orange bow. 


Signed at the upper right, Henrt Matisse. 


RENOIR 
(Auguste) 
Frencu: 1841—-1919 


283—PORTRAIT DUNE FILLETTE 
(Portrat of a Little Girl) 


Height, 884 inches; width, 74/4 inches 


Rose and gold and blue. The little girl with golden hair, in which 
a red rose is tucked or a red bow is tied, and with rosy cheeks and 
with deep blue eyes; in a white frock, before a rose background. 


Signed at the upper right, Renorr. 


RENOIR 
(Auguste) 
Frencu: 1841—1919 


29—FLEURS 
(Flowers ) 


Height, 7 inches; length, 914 inches 


Roses of deep and glowing pink at the centre, and palest soft pink 
and pinkish-white at the petal-borders, with hints of their green leaves 
about them, in a confused neutral background largely greenish- 
yellow. : 
Signed at the lower right, A. R. 


DERAIN 
(André) 


FrenNcH: CONTEMPORARY 


30—NATUREH MORTH: VERRE ET FRUITS 


(Still Life: Glass and Fruits) 
Height, 121% inches; width, 1214 inches 
Tue rosy fruits in natural color, touched with a kiss of sunlight and 
gold, the red having as a foil a single green leaf; the tumbler 


exhibiting a grayish opalescence;—all before a neutral background 
of dark and deep greenish-blue tone. 


Signed at the lower right, A. Deratn. 


CEZANNE 
(Paul) 
Frencu: 1839—1906 


31—GERANIUM 
(Geranium) 
(Water Color) 
Height, 181% inches; width, 94% wmches 
Ricu, vivid and varying greens, with aubergine shadows and touches 


of a wan yellow relieving them. The background, which contributes 
the flower-pot, a very light buff. 


PICASSO 
(Pablo) 


Frencuo: CoNTEMPORARY 


32—NATURE MORTE 
(Still Life) 
(Water Color) 
Height, 13 inches; width, 10 inches 


THE vase a lapis-blue, deep below, light with reflections above, and 
standing before a jade-green bowl. ‘The flowers of rose-mahogany 
tones, the leaves a rich green. The upper background a medley of 
neutral grays, the draperies below of varying mahogany notes. 


Signed at the lower right, Picasso. 


PICASSO 
(Pablo) 


FreNcH: CONTEMPORARY 


33—PETITE NATURE MORTE 
(Still Life) 
Height, 1384 inches; width, 101% inches 
A. CONFUSED mass of geometrical forms of very definite but erratic 


outlines, in white and black, brown and blue, against a gray back- 
ground, 


Signed at the lower left, Picasso, Brarrirz, 1918. 


RENOIR 
(Auguste) 
Frencu: 1841—1919 


34— BOUQUET DE ROSES 
(Roses) 
Height, 10144 inches; width, 84% imches 


Roses red and roses pink and pinkish-white, with blossoms of golden 
note among them, amid their green and yellow-tipped leaves, against 


an indefinite background. 
Signed at the lower right, Renorr. 


BONNARD 
(Pierre) 
Frencu: 1867— 


35—LES COURSES A BOULOGNE 
(Boulogne Race Track) 
(Panel) 
Height, 1414, inches; length, 18% inches 
ScaRLET, orange, green and white, in the jockeys’ colors, their horses 
sorrel and brown, the turf a faded greenish-yellow. Over the white 


grandstands with dark roofs, the brilliant tri-color standing out in 
the breeze, above the indefinite brown mass of the spectators. 


Signed at the lower left, Bonnarp. 


DERAIN 
(André) 


Frencu: ConTEMPORARY 


36—LA ROUTE 
(The Road) 


Height, 914 inches; length, 11% inches 


THE gray-white road runs between red-brown banks and along 
orange-yellow meadows, and the shrubs and trees are of mild green 
—with a single bright exception at right—the trees being more or 
less in shadow against the bright white and blue sky. 


Signed at the lower right, A. Deratn, 


DERAIN 
(André) 


Frencu: CONTEMPORARY 


387—_ ROSES DANS UN POT 


(toses in a Jug) 
(Panel) 
Height, 18 inches; width, 131% inches 


‘ue pitcher a rich lapis-blue, running from deep tones to reflections 
of light—the roses a warm pink, paling almost to white at some of 
the petal-edges, and lying among deep green leaves which overhang 


the pitcher. | 
| Signed at the lower right, A. DrEratn. 


FRIESZ 
(Othon) 


FRENCH: CoNTEMPORARY 


38—_UNE RUE DE HONFLEUR 
Height, 161% inches; width, 13% inches 


TuE black cab in the foreground, with its brilliant red running-gear, 
its top shining white—the group of people beside it in a jumble of 
dark colors. Buildings creamy-gray and sky-blue, red and grayish- 
green, the street surface a commingling of the reflections of all the 
colors; and the whole dominated by the high dark green hill of the 
background. 


Signed at the lower left, OrHon Friesz. 


ees es 


PICASSO 
(Pablo) | | 


FRENCH: CONTEMPORARY 


39—TETE DE FEMME 


(Woman’s Head) 
(Drawing) 
Height, 7 inches; width, 41% inches 


In pen and ink, the sharper pen lines a deep black, the softer shadings 
beneath appearing in a lead-pencil gray. 


COUBINE 


FRENCH: CONTEMPORARY 


40—TETE DE FEMME 
(Head of a Woman) 
Height, 1384 inches; width, 1014 inches 


JET black hair, set off by a single touch of white, binding it back of 
her left brow. White gown. Dark eyes and warm complexion, the 
pink roundly flushing the soft creaminess of her skin. 


Signed at her left shoulder, Cousin. 


RENOIR 
(Auguste) 
Frencu: 1841—1919 


41—PORTRAIT DE MME. PAUL GALIMART 
Height, 16 inches; width, 124% inches 


Dark hair, almost black, with hints of reddish-mahogany notes; 
dark eyebrows and rosy features. About her neck and over her left 
shoulder a scarf of richly mottled dark emerald, over a waist revealing 
hues of cream and rose. 


From the Galimart Collection. 


DERAIN 
(André) 


FrencH: CoNTEMPORARY 


42—PORTRAIT DE SOLDAT 
(Portrait of a Soldier) 
(Cardboard) 
Height, 114% inches; width, 834 inches 
Tyrica uniform, with cap and jacket in red and blue. Dark neutral 


background. (A penciling on the back notes this as a portrait of the 
artist, by himself.) 


BONNARD 
(Pierre) 
Frencu: 1867— 


43—FEMME A TABLE 
(Woman at a Table) 
Height, 1834 inches; width, 12 inches 
CLAD in a waist of soft material shot with a variety of shimmering 
colors, with grays, browns and a deep lapis-blue predominating; 


at her throat a large rosette-bow of bluish turquoise-green. Golden- 
vellow hair under her plum-brown hat with light trimmings. 


Signed at the upper left, Bonnarp. 


SS 


VUILLARD 
(E.) 


FrencH: CONTEMPORARY 


44—FILLE EN BLEU 
(Girl in Blue) 
( Pastel) 
Height, 24 inches; width, 1834 inches 


ALL in blue she is, a soft and engaging blue, and her hair shows soft 
brown lights and darker shadows. As she sits at table she is engaged 
with her knife upon what appears to be a loaf of bread well browned, 
with the bottom or pan side of it toward the observer somewhat 
blackened—or a cheese of rich exterior coloring and lighter inside. 
Table gray, and background a mingling of neutral hues of a room 
interior. 

Signed at the lower right, K. Vuriiarp. 


DERAIN 
(André) 


FRENCH: CONTEMPORARY 


45—PETIT PAYSAGE 
(Landscape ) 


Height, 12°34 inches; length, 16 inches 


Dense bluish-green depths amongst the foliage of the gray-trunked 
trees, with sunshine flashing in the light green reeds at their base 
and on the neighboring stream, and on the bare brown hills of the 
background, from a bright sky filled with white clouds. 


Signed at the lower right, A. Deratn. 


DERAIN 
(André) 


Frencu: ConreEMPORARY 


46—VUE DE CAHORS 
(View of Cahors) 


Height, 1514 wches; length, 1714, inches 


Ture hills both to right and in the distance appear in the warm red- 
brown of a cultivated ferrous soil, while in the foreground and to 
left is a green carpet of grass, and the white and creamy buildings 
of the middleground, with their warmer, reddish-brown roofs, project 
from among dense green trees. 

Signed at the lower right, A. Deratn. 


Se eS 


ee 


ae Ss! SP 


DUFY 
(Raoul) 


Frencu: ConNTEMPORARY 


47 NATURE MORTE 
(Still Life) 


Height, 18 inches; length, 211% inches 


A CURIOUS assortment of jug, plate and bowls, in dense deep green, 
rich yellow, light and dark blue, white and suggestions of mauve, 
against a dazzling background. 

Signed at the lower right, Raout Dury. 


COROT 
(Jean Baptiste Camille) 
Frencu: 1796—1875 


48—LA PETITE SERAPHINE, VETUE DE GILET DE 
COROT DANS SA CHAMBRE A ARLEUX 


(Little Seraphina, Dressed in Corot’s Waistcoat in Her 
Chamber at Arleux) 


Height, 1544 inches; width, 10% inches 


“A stupy made by the master at Arberg du Nord, July 14, 1871. 
Painted in the very modest chamber which we offered the master. ... . 
His bed, his books. The little girl wears Corot’s (inverted) 
waistcoat.” The waistcoat a light gray with an edge of dark brown; 
the girl’s dress bluish-gray, with a dark gray underskirt; white “V” 
at her throat. Her hair black, bound with a red ribbon. The bed and 
its covering gray and gray-white, before a gray wall, and casting a 
brownish shadow. The commode dark mahogany-red—a scarlet scarf 
over the stack of grayish books. 

Signed at the lower left, Coror. 


Moreau-Nélaton, Vol. III, p. 298; No. 215. 
From the George Viau Collection. 


From the Hanson Collection, Copenhagen. 


COURBET 
(Gustave) 
Frencu: 1819—1877 


49 NATURE MORTE 
(Still Life) 


Height, 144% inches; length, 174 inches 


Tue sward of a darkening green field in a rolling country, under a 
robin’s-egg sky in which mauve tints of approaching sunset appear. 
To left the forest edge, dark green against the sky. In the foreground 
the subject fruits, greatly magnified—those at the left as rich and 
luscious a red as eye could seek or palate crave, those to right a creamy 
and golden green-gray. 

Signed at the lower left, G. Courset, ’71. 


DAUMIER 
(Honoré) 
Frencu: 1808—1879 


50—PORTRAIT DE M. LAVOIGNAT 


Height, 18 inches; width, 1434 inches 


A portrait of the artist’s friend, the engraved Lavoignat, painted 
about 1860; purchased from the Lavoignat family. A man of reddish 
brown hair and beard, and complexion at once creamy and florid, 
the light in which the painter observed it. White collar and dark 
brownish coat. Olive-gray background. 


Exposition of Vienna, 1908. 
Exposition of St. Petersburg, 1912. 
Exposition of Geneva, 1818. 

From the George Viaw Collection. 


From the Hanson Collection, Copenhagen. 


a 


DERAIN . ‘ 
(André) 


FRENCH 4 CoNTEMPORARY 


51—BUSTE DE FEMME 
(Bust Portrat of a Woman) 


Height, 21 inches; width, 111% «inches 


Tue flesh of bust and face appearing in warm tones in a warm half- 
light, which from above lightens but mildly the woman’s reddish hair. 
Her sagging undergarment white, her skirt gray-blue. Brownish 
background. 


Signed at the lower right, A. Drrain. 


ORTIZ 
(José) 


SPANISH: 1869— 


52—BUSTE DE FEMME 
(Bust Portrait of a Woman) 


Height, 2834 inches; width, 21 inches 


Neutra background, gray and emerald in its tones at right, moss- 
green and purplish at left, the cool gray-emerald reappearing at the 
lady’s right elbow and the general scheme warmed by orange notes 
above her left shoulder. Her gown bluish, with suggestions of mauve. 
Hair reddish-brown and cheeks rosy. The play of the light on hair, 
face and breast yields a maze of color and reflections, as fascinating as 


elusive. 
Signed at the upper right, Ortiz. 


COURBET 
(Gustave) 
Frencu: 1819—1877 


53—LA MER 
(The Sea) 


Height, 191% inches; length, 2314 inches 


Tue sea a dark gray-green, with a lighter translucence as well as the 
white of the foam defining the successive waves, and at the fore- 
ground shore the broad white line of the surf. The shore sandy-gray 
and yellowish, and its detached and jagged rocks gray-brown. Over 
the sea, banks of nimbus clouds, with gray ones above them opening 
to a robin’s-ege sky. 

Signed at the lower right, G. CourBeEr. 


Exhibited at the Exhibition of the Works of Gustave Courbet at the Metro- 
politan Museum of Art, 1919. 


SISLEY 
(Alfred) 


Frencu: 1840——1899 


54—DANS LES VIGNES A LOUV ECIENNES, 1874 
(In the Louveciennes Vineyards, 1874) 


Height, 18 inches; length, 21°4 inches 


GREEN of many notes, for the most part soft gray-greens, in fields and 
on the hillsides. To left rich red fruits among the green leaves of 
the round trees, and to right yellowish and brown notes. Distant 
hills blue under a mauve-gray sky. Two laborers stand in the middle 


distance. 
Signed at the lower left, Ststny, ”74. 


From the George Viau Collection. 


From the Hanson Collection of Copenhagen. 


’ wi 
Oka, 


A ge 


FRIESZ 
(Othon) 


Frencu: CoNTEMPORARY 


55—LES MATS DERRIERE LES MAISONS 
(The Masts Behind the Houses) 
Height, 191% inches; length, 251 inches 


Tue masts, some of them flying the Tricolor, stand before a creamy 
sky, which to right becomes a bluish-gray. The leaves of the over- 
hanging tree-branches inshore of them wave in a breezy sunlight, and 
show hues of light and dark green and touches of yellow. ‘The houses 
below, over whose orange, salmon and red roofs the masts are seen, 
are creamy and purplish grays, and the trees and shrubbery add a 
variety of greens. 

Signed at the lower right, OrHon FRrEsz. 


VLAMINCK 


FrenNcH: CONTEMPORARY 


56—BORDER OF THE SEINE 


Height, 2314 inches; length, 28% inches 


Sxy dark and light blue, filled with gray and white clouds, all its hues 
mirrored in the stream, which also reflects the gray walls and red roofs 
of the houses on the bank and the green trees between them. 


Signed at the lower right, VLAMINCK. 


PICASSO 
(Pablo) 


FrENcH: CONTEMPORARY 


57—PORTRAIT DE JEUNE FEMME 
(Portrat of a Young Woman) 


Height, 281% inches; width, 1914 inches 


In a cloak of neutral green with suggestions of olive-yellow, and deep 
blue trimmings and shadings, and wearing a vermilion-red hat 
trimmed with dark greenish-blue, with a feather to match and an 
olive-green buckle. She has brown hair, and her rosy cheeks are 
almost florid. Neutral background in light key. 


Signed at the lower right, Picasso. 


From the Libaude Collection, Paris. 


DAVIES 
(Arthur B.) 


AMERICAN: 1862— 


58—A POOL OF FRAGRANCE 


Height, 2584 inches; length, 391% inches 


AN allegorical nude, in which a sloe-eyed nymph seems Narcissus- 
like to contemplate her own image in a pool or fountain not apparent 
to the spectator—the creamy flesh dappled with pale golden sunshine 
and flushed with pinkish shadows, in a conventional environment of 
umbrageous green. 

Signed at the lower left, A. B. Davies. 


FOURNIER 
(Gabriel) 


Frencu: CoNTEMPORARY 


59—PAY SAGE 
(Landscape) 


Height, 2514 inches; width, 21 inches 
Fo.iaGE in deep and lighter green, in shadow and sunshine, and the 
herbage adding further variety to the verdant notes; the transverse 
pathway a warm sandy-brown, the middle-distance building creamy in 
the sunlight, with touches of other color notes. The sky a deep, in- 


tense azure. 
Signed at the lower right, GasrieL Fournier. 


SIGNAC 
(Paul) 


Frencu: 1863 


60—MARSEILLE 
(Marseilles) 
(Ink Drawing) 


Height, 3534 inches; width, 2834 inches 


Trees broadly and heavily lined in, foreground rocks and distant 
landscape lightly grayed over, light grayish reflections emphasizing 
the course of the intervening water. 


Signed at the lower left, P. Stenac. 


GUILLAUMIN 
(Jean Baptiste Armand) 
Frencu: 1841— 


61—PAYSAGE: LE MATIN 
(Landscape: Morning ) 


Height, 231% imches; length, 284 inches 


PURPLE-BLUE and hazy-violet the woods of the distance, beneath a 
morning sky with its auroral pink suffusing the pale golden light 
breaking through moist white clouds. The river slowly coursing 
the middle distance reflects the shadows of the woods, and in its course 
and on the hither bank are rough red-brown and green-gray rocks— 
those on the land lying on a grass-covered ground of luminous yellow- 
green. 


Signed at the lower left, GUILLAUMIN. 


UTRILLO 
(Maurice) 


Frencu: ConrEMPORARY 


62—LE CHATEAU 
(The Castle) 


(Board) 
Height, 23 inches; length, 2814 inches 


THE castle tower is creamy white, with weathered areas and mossy 
adhesions, under a dark slate-blue roof, and the walls at either side 
are a grayish-cream and faint rosy-gray, rising amid trees and dense 
and dark greenery. To right a low red wall borders the stream or 
moat in the foreground; to left a red gabled building comes into view 


beyond green shrubbery. 
Signed at the lower right, Maurice Urritto. 


SOUTER ie 


a 
a8 


VLAMINCK 


FRENCH: CONTEMPORARY 


6838—DANS LA FORET 
(In the Forest) 


Height, 23% inches; length, 281% inches 


TrEEs at right and left of the house in the middle distance bright 
green, with emerald notes, in sunshine; those at left in the background 
dark in shadow. The house gray-white with brown and reddish roof, 
the land before it of mellow tone, the foreground stream a mass of 
reflections. 


Signed at the lower left, VLAMINCK. 


DUFY 
(Raoul) 


FRENCH: ConTEMPORARY 


64—PAYSAGE: S. PAUL 
(Landscape: St. Paul) 


Height, 251% inches; length, 32 inches 


Tue tall, dominating architectural pile in its walls and tiled roofs 
shows purple-gray and sundry browns and yellows, while relieved 
against it the tall poplars are a dense and vivid green. Green, heavy 
in mass but in lighter hue, appears beside the curving wall on the earth 
below, while the curious trees of the left foreground have in their 
foliage a suggestion of the blue-green of an olive grove. In the far 
distance the blue of a deep cerulean sea. 


Signed at the lower right, Raout Dury. 


MATISSE 
(Henri) 


FRENCH: CONTEMPORARY 


65—PORTRAIT DE FEMME ACCOUDEE SUR UN 
FAUTEUIL 


(Portrait of a Woman Leaning on Her Elbow in an 
Armchair) 
( Panel) 
Height, 21 wmches; width, 18 inches 


WHITE waist, with greenish trend, the sleeves transparent, Creamy 
features, rose-touched, and black hair. Orange-backed chair against 
a mottled-emerald background. 


Signed at the upper right, Henri Matisse. 


CASSATT 
( Mary) 


AMERICAN: CONTEMPORARY 


66—JEUNE FEMME ASSISE 
(Young Woman Seated) 
(Pastel) 

Height, 2345 inches; width, 19% inches 
REDDISH-YELLOW hair very dark, with blond lights revealed in it, 
above a face of warm hues enclosing hazel eyes. Her décolleté waist 
is old-rose, and the jar of flowers includes blooms pinkish and of pale 


golden-yellows, while the table-top repeats orange tones and the fan 
discloses notes of green. Background a deep aerial blue. 


Signed at the lower right, Mary Cassar. 


From the Theodore Duret Collection. 


GUILLAUMIN 
(Jean Baptiste Armand) 


Frencu: 1841— 


67—PAY SAGE 
(Landscape) 


Height, 23 inches; length, 311% inches 


“AN autumn landscape with yellows and orange tones, and soft browns, 
besides greens in a variety of notes, and certain blues and touches of 
red. A veiled and nebulous robin’s-egg sky, with mauve strata 
amongst the mixture of cloud colors. 


Signed at the lower right, GuILLAUMIN. 


PISSARRO 
(Camille) 
Frencu: 1830—19038 


68—LA SEINE A ROUEN: EFFET DE BROUILLARD 
(The Seine at Rouen: Fog Effect) 


Height, 25% inches; length, 32 inches 


Mavve and pale yellowish notes mingle with the faint gray of the 
confused sky, and mauve reflections with the bluish-gray of the 
ruffled river below,—the whole, with the traffic on the busy bridge, 
the boats and trains, and the distant city buildings, seen dimly in the 
pervasive fog. 

Signed at the lower right, C. Pissarro, *98. 


From the Hanson Collection, Copenhagen. 


DUREY 
(René) 


FRENCH: 


69—LA VILLE 
(The Town) 


Height, 2514 inches; length, 3145 inches 


Deer blue the encompassing hills, and gray-blue the sky overhead, 
while the sky just over the hilltops is a white and creamy bank reveal- 
ing soft hues of orange and rose. The town buildings brown, white 
and creamy, their roofs blue, orange, brown and red, the street sandy, 
with a border of green grass. 


Signed at the lower left, Rent Durey. 


CAMOINS 


FreNcH: CONTEMPORARY 


70—LE PETIT PORT 
(Small Harbor of a Seaport) 


Height, 21 inches; length, 3114 inches 


CREAM walls of varying tone in the mass of houses—here and there 
a white or gray-brown one—blue, green or orange shutters or doors; 
pinkish and red roofs. Emerald the stream crossing the middle- 
ground and cream, pinkish, buff and brown the foreground sands. 


(Maurice) 
FREeNcH: ConTeMPorary 
71—LA RUE | | : a 
(The Street) a cae a e | 
| (Board) — 


Height, 221, elas Tenge 29Y, inch eee 


Bare the trees, in autumn or Spring=the cold pul 
fleeting white clouds suggests the autumn— 
full of colorful reflections and refractions fr om 
houses with brown and eid eae And tl 


UTRILLO 
(Maurice) 


FrENcH: CONTEMPORARY 


72—EFFET DE NEIGE 


(Snow Effect) 
Height, 231% inches; length, 31%4 inches 


Snow on the ground, registering the tracks of stragglers in quiet 
streets, who are out in the bright winter air; snow on roofs and walls, 
making the scene more bright under a mild gray sky. And but little 
of the snow holding to the trees lining street and hillside, whose all 
but bare branches retain a few leaves, while red chimney-pots above 
the varied houses spot the composition with lively color. 


Signed at the lower right, Maurice Urrityo, V. 


VLAMINCK 


FrEeNcH: CONTEMPORARY 


73—BORDS DE RIVIERE 
(Banks of the River) 


Height, 281% inches; length, 36 inches 


Wiru wonderful clearness the limpid stream reflects on its deep blue 
and silvery-white surface the cream-white and warm red of the walls 
and roofs of the houses on its farther bank, and more suggestively the 
greens of the landscape around them. Foreground green in sunshine 
and shadow. 


Signed at the lower right, VLAMINCK. 


DUREY 
(René) 


FRENCH: CONTEMPORARY 


74A—LE VILLAGE 
(The Village) 


Height, 25% inches; length, 3124 inches 


THE yellow-sandy road is bordered by banks of green grass, and above 
these rise gray and orange walls, supporting blue roofs and brown 
ones, and intervening between these are green tree-tops. Sky grayish- 
blue, with much white vapor. 


Signed at the lower right, Rent Durey. 


PICASSO 
(Pablo) 


FrencH: CONTEMPORARY 


75—GRANDE NATURE MORTE: LE COMPOTIER 
(Still Life: The Compote Dish) 


Height, 23 inches; length, 3114 inches 


THE compote dish white with green interior, and strong black shadows 
outside and in. The table, wall, and all else, green in groundwork, a 
vivid green, spotted with white and black and red and blue, rose and 


yellow and magenta, on gray. 
Signed at the lower right, Picasso, 1914. 


DAVIES 
(Arthur B.) 


AMERICAN: 1862— 


76—THE SUMMIT THICKET 


Height, 2244 inches; length, 40 inches 


THE two young women nude in the seclusion of a leafy retreat, the 
foliage all about them a rich variety of greens, with golden flashes 
of sunlight on occasional blossoms—here a patch of orange, there one 
of a deep, dense blue—and the play of the transparent shadow-lights 
on the cool flesh tones. The nearer nymph with mahogany-red hair. 


ee ee a ae dp aii 


ail . 


LEBOURG 
(Albert) 


Frencu: 1849— 


77—LES BORDS DE LA SEINE 
(The Banks of the Seine) 


Height, 2514 inches; length, 3914 inches 


Tue freight boats, whether with steam or without, massed at both 
borders of the river, are in low tones of red, brown, blue and grayish- 
yellow, and the landscape and its buildings and the busy life of the 
quay are in the same colors, varying in value and but rarely striking 
a higher key. The stream and its reflections share in the soft poly- 
chrome effect, the most luminous of the reflections in the foreground 
being that of an orange and mauve cloud-bank in the bluish sky. 


Signed at the lower left, A. Leznourc, Rovrn, 1894. 


From the Roger Marx Collection. 


DAVIES 
(Arthur B.) 


AMERICAN: 1862— 


783—_SHADOW VALLEY 


Height, 25°4 inches; length, 39145 inches 


AN allegorical composition of eighteen male and female figures, 
mainly nude and indistinct, in a vale of shadows where apparently 
or semi-apparently is a stream—the nebulous lights in the peculiar 
environment of a prevailing creamy hue in the upper part of the 
region, and bluish below. 


(André) _ 
ee Bee ConTEMPoraRy aad 
79—PAY SAGE : ee 
(Landscape) 
Height, 2816 is, length = 


fie dense on a grayish, roots p ) 
almost white 


DAVIES 
(Arthur B.) 


AMERICAN: 1862— 


80—VELVET-EYED VENUS 


Height, 37%4 inches; width, 3734 inches 


Tue figure is gray, and dappled with creamy lights, and the aureole of 
her hair mauve, against a cerulean background with a few nebulous, 
misty patches before it. White surf of a blue sea—the projecting 
rocks red-brown. 

Signed at the lower left, A. B. Daviss. 


SECOND AND LAST EVENING’S SALE 
TUESDAY, JANUARY 31, 1922 


IN THE GRAND BALLROOM OF THE 


PLAZA HOTEL 


Nine West 581TH STREET 


BEGINNING AT 8.15 O'CLOCK 


Ela Ot RE Si ER ae Ree eee eee ee 


GOYA Y LUCIENTES 


(Francesco) 
Spaniso: 1746—1828 


81—DEUX TETES 
(T’wo Heads) 
(Pencil Drawing) 


Height, 384 inches; width, 3°4 inches 


As a paster on the back notes, a drawing for an engraving of “The 
Duel,” engraved by A. Hirsch, in the Gazette des Beaux Arts. Pen- 
cil drawing finely executed, the title explaining it. 


At lower left, stamp of the Francois Flameng Sale. 


CHAHINE 
(Edgard) 


Frencu: CONTEMPORARY 


82—PORTRAIT DE FEMME 
(Portrait of a Woman) 
(Charcoal Drawing) 
Height, 23 inches; width, 16 inches 


In very rich, matt black. 
Signed at the lower right, Epcar CHAHINE. 


ote Sap dae. 


i 
PY 


VUILLARD 
(E.) 


FrenNcH: CoNTEMPORARY 


8838—DEVANT LA GLACE 


(At the Mirror) 
(Pastel) 
Height, 224% inches; width, 1884 inches 
Dark blue-black skirt, and gauzy waist with lavender and buff sug- 


gestion; dark brownish hat. The pale gold mirror frame darkening 


toward brown, and on the purple-gray dresser ornaments of orange- 
brown and robin’s-egg blue. 


Signed at the lower right, KE. Vurtuarp. 


RIVIERE 
(Henri) 
Frencu: 1860— 


84— SOUS LE PONT DES ARTS 


(Under the Bridge of the Arts—the bridge across the 
Seine, leading to the Louvre) 


(Water Color) 
Height, 8% inches; length, 131% inches 


THE river a pale blue below a grayish sky, with its rippled waters 
showing green shadows beneath the bridge. ‘The neighboring Jand- 
ings gray—and green foliage looming in the middle distance. 


Signed at the lower right, Henri Riviere; and at the lower left, 
“H. R., Pont pes Arts.” 


BARYE 
(Antoine Louis) 


Frencu: 1796—1873 


85—TIGRE COUCHE DANS LA BROUSSE 
(Tiger at Rest in the Brush) 
(Water Color) 


Height, 7 inches; length, 11 inches 


THE tiger in his warm and stunning natural coloring; the path where 
he lies, worn gray earth or rock; the ground growths of the bleak 
environment grayish, and touched with green and deep autumn- 


browns. 
Signed at the lower right, Barye. 


On back, seal of the Barye Sale. 


MILLET 
(Jean Francois) 
Frencu: 1814—1875 


86—LES BLES MURS 
(The Ripened Grain) 
(Water Color) 


Height, 734 inches; length, 10 inches 


THE grain brown, with soft surface lights, the trees green, and among 
them and beyond the grain-fields the gables of red-tiled and brown- 


thatched farm buildings. 
Signed at the lower left, J. F. M. 


GUYS 


(Constantin Ernest Hyacinthe) 
Frencu: 1802—1892 


87—_LA PROMENADE 
(The Promenade) 


(Water Color) 
Height, 16 inches; length, 19 inches 


Tue ladies are dressed, the leader in water-green, her companion in a 
light buff; the officer is in light green. The horse is dark. 


RENOIR 
(Auguste) 
Frencu: 1841-1919 


88—PORTRAIT DE FEMME EN CHAPEAU DE PAILLE 
(Portrat of a Lady in a Straw Hat) 


Height, 834 inches; width, 8 inches 


Tur straw of her tepee-like hat a vivid yellow, with canary lights 
and brownish-orange notes; the scarf binding it and tied beneath her 
chin a rich azure, which, like the yellow in her hat, glows in the sun- 
shine. Her cheeks a brilliant and deep rose, above the soft pink of her 
chin. Gown and background a confusion of soft colors, keyed to the 
high light of the whole brilihant performance. 


Signed at the lower left, Renorr. 


RENOIR 
(Auguste) 
Frencu: 1841—1919 


89—BUSTE DE FEMME 
(Bust Portrat of a Woman) 


~ 


Height, 9 inches; width, 7 inches 


A PASTER on the stretcher notes the painting as a portrait of Madame 
Renoir. ‘The sitter presents her smiling features in pink and rose, 
framed in blond hair showing light golden and dark mahogany lights; 
eyes blue. She is in a delicate greenish-blue gown of robin’s-egg note, 
shot with white, orange and gold, and reflecting warm orange and 
brown notes of the background. 


Signed at the upper right, Renotr, ’92. 


DAUMIER 
(Honoré) 
Frencu: 1808—1879 


90—GROUPE DE TROIS PERSONNAGES 
(Group of Three Persons) 
(Panel) 


Height, 584 imches; length, 7 inches 


Or the three figures the stout woman at left, who is in a white waist 
edged in blue, and the third figure, with heavy masculine features, 
have reddish-yellow hair; the intermediate person has black hair above 
a florid face, and is clothed in a mingling of colors and flowing lines, 
both more or less indefinite. 

(Note on back: “Mai [May] 1860.’’) 
From the Boy Collection. 


DEGAS 
(Hilaire Germain Edgard) 
Frencu: 18384—1917 


91—LE BALLET 
(The Ballet) 
(Pastel) 


Height, 9 inches; width, 7 inches 


Own the broad dusty-gray boards the first three dancers appear in 
costumes of robin’s-egg hue, with dark apricot bodices, and those 
behind them in soft yellow, enlivened by touches of orange-red, with 
green scenic relief. 


Signed at the lower left, Drcas. 
From the Roger Marea Collection. 


DAUMIER 
(Honoré) 
Frencu: 1808—1879 
92—FEMME ET ENFANT SUR UN PONT 
(Woman and Child on a Bridge) 
(Panel) 


Height, 1084 inches; width, 8Y inches 


In sombre notes. ‘Tones of brown, amid which suggestions of red and 
of gray appear in the garb of the figures, who approach the spec- 
tator in their own shadow, with moonlight softly illumining footway 
and barrier—and far off a dark greenish-blue sky. 


From the Alphonse Kann Collection. 


Formerly in the collection of Arséne Alexandre. 


DELACROIX 
(Eugéne) 
Frencu: 1798—1863 


983—ESQUISSE POUR LE TABLEAU LE “GIAOUR ET 
LE PACHA” 


(Sketch for the painting, “The Giaour and the Pacha’) 
( Board) 


Height, 734 inches; length, 984 inches. 


THE flying robes of the combatants white and a rich cream, above 
their richer apparel of crimson and olive, blue and purple, standing 
out before the brown and black of their chargers—the colors reap- 
pearing in the garb of the stealthy, creeping figure in the foreground, 
while the mountain fastnesses of the background and the distant sky 
yield a variety of color reflections softer in tone. 


From the Chéramy Collection. 


Formerly in the collections of Victor Hugo, Théophile Gautier, Alice Ozy, and 
Alexandre Dumas fils. 


RENOIR 
(Auguste) 
Frencu: 1841—1919 


94— PORTRAIT DE FEMME EN TOILETTE DE VILLE 
(Portrait of a Lady in Walking Dress) 


Height, 934 inches; width, 734 inches 


Her white hat banded in a rich velvety brown-black, her hair blond 
and complexion creamy—with lips a warm red. Color abounds in 
the background which the painter has given his study—a rich blue, 
lightened by faint greenish-yellow, orange and brownish-red—and 
more light appears in the light yellow and cream of the lady’s bow tie, 
and her white collar and waist. 


Signed at the lower left, Renom. 


DAUMIER 
(Honoré) 
Frencu: 1808—1879 


95—TETE D’HOMME 
(Head of a Man) 


Height, 84% inches; width, 644 inches 


Expression and brush strokes count so heavily in this fascinating 
tour de force that its color, eloquent as it is, is difficult to represent 
in words—further than to say that the man’s hair is a deep brown, his 
brow, features and neck, and his undefined apparel, all an assemblage 
of color not confused nor yet analyzed, but richly conceived in tones 
soft and warm, with red, brown, gray and an obscured white pre- 
dominating. 


From the Alphonse Kann Collection. 


CEZANNE 
(Paul) 


Frencu: 1839—1906 


96>—QUATRE PECHES DANS UNE ASSIETTE 
(Four Peaches on a Plate) 


Height, 91% mches; length, 144% inches 


GOLDEN with the gold of noonday sunshine and crimson with the 
warmth of sunset-red, the fruit in the full perfection of maturity rests 
on a blue-edged white plate, on a table whose coverings show a ming- 
ling of colors, with red and yellows predominating. 


From the collection of Octave Mirbeau. 


DERAIN 
(André) 


Frexcu: ConTEMPORARY 


97—V ASE DE FLEURS 
(Vase of Flowers) 
(Canvas on Board) 


Height, 26 inches; width, 101% inches 


Roses and other flowers, their colors running from pinkish-white to 
dark brownish-red, rise high above their indeterminate grayish vase 
and stand forth against a very light background. 


RENOIR 


(Auguste) 
Frencu: 1841—1919 


98—PORTRAIT DDHOMMME, ETENDU SUR UN SOFA 
(Portrait of a Man at Ease on a Sofa) 


Height, 81% inches; length, 111% inches 


In dark clothing, coat a grayish-black and trousers dark brown; he 
is seen against a drapery of olive notes, with rambling floral orna- 
mentation in greenish-blues—both figure and drapery in a soft half- 
light. 


Signed at left below centre, A. Renor. 


From the Chéramy Collection. 


MORISOT 
(Berthe) 
Frencu: 1841—1895 


99—AU BORD DE LHAU 
(At the Waterside) 
(Water Color) 


Height, 814 inches; length, 1114 inches 


Tur lady is in blue, a blue azure in its depths and pale in its brilliant 
light reflections—her small hat the same color. The man, with sandy 
beard, shows but little color in his apparel. The green bank on which 
they are seated is lightened by hinted blossoms, and the surface of 
the stream shares reflections of the bordering greenery. 


Signed at the lower left, B. Mortsor. 


From the Manzi Collection. 


— ~ 


VAN GOGH 
(Vincent) 
Frencu: 1853—1890 


100—PORTRAIT DE L’ ARTISTE PAR LUI-MEME 
(Self-portrait of the Artist) 
(Canvas on Panel) 


Height, 1334 inches; width, 101% inches 


Tuer extraordinary man, with complexion of warm pinkish hue, and 
his piercing blue eyes dark, portrays himself with beard as yellow as 
his broad straw hat, but of deeper note, and with his lips and ears vivid 
in their redness. He is clothed in blue of an azure quality, and ap- 
pears against a grayish neutral background. 


From the collection of M. Bernard Goudchauza. 


DEGAS 
(Hilaire Germain Edgard) 


Frexcu: 1834—1917 


10I—ETUDE DE FILLETTE POUR LE “PORTRAIT DE 
FAMILLE” 


(Study of a Small Girl for the “Family Portrat’) 


Height, 1484 inches; width, 1014 wches 


Tur washed shadows on the skirt and below it are in transparent 
black, the overskirt and waist lightly brushed in in dove-gray. The 
broad strokes at left are in brown. The young girl’s hair is a soft 


chestnut-yellow. 
Signed at the lower right, Dreas. 
From the Manzi Sale. 


DAUMIER 
(Honoré) 
Frencu: 1808—1879 


102—BUSTE DE FEMME 
(Bust Portrat of a Woman) 
(Paper on Canvas) 


Height, 15%4 inches; width, 1284 mches 


TuE bold broad outlines conspicuous in the illustration done in gray- 
black, in free strokes; the woman’s hair red, her complexion the trans- 
parent pink that often accompanies this Titian hair. Background 
the azure of a nebulous sky. She is dressed in gauzy white, with a 
blue ribbon at her throat and a pink rose with a green leaf at her 
breast. 


From the collection of Octave Mirbeau. 


= od - “a at) 


RENOIR 
(Auguste) 
Frencu: 1841—1919 


1083—PORTRAIT DE MADAME ED. MAITRE 


Height, 1484 inches; width, 1234 inches 


In gray and black and white the checkered dress, the brooch garnet; 
the cushion a fabric of lighter grays against a chestnut background, 
and both textiles and background relieving the sitter’s rich black 
hair. Her comely features, in a softened light, reflect a vague variety 
of color notes, in partial shadows which veil without concealing the 
natural rose of her cheeks beneath them. 


Signed at the upper left, Renorr. 


"MANET 
(Edouard) 


Frencu: 1832—1883 
104A— CHEZ TORTONI 


(At Tortoni’s) . 
Height, 101% inches; length, 1314 in, 


Portrait of a blasé and yet alert young man wri 
famous Paris café, his per eae BIAS resting j 


show good Eolen His black hat eee sorectal 
in the soft light-reflections of the ey ue Sor 
rosebud at the lapel. — 

From the Alphonse Kann Collection. 


\ 


RENOIR 
(Auguste) 
Frencu: 1841—1919 


105—PORTRAIT DE M. ET MME. BENJAMIN GODARD 


Height, 13°4 inches; width, 101% inches 


Bot of rosy complexion, and both also having blond hair, which 
shows mahogany lights; she, clothed in a soft grayish-blue, he in dark, 
unassuming and indefinite hue, and the group observed against an 
undetailed background as of a highly colorful garden window, full 
of light on the right, and a dense woodland-interior green at left. 


Signed at the lower left, Renor. 


From the private collection of M. Joseph Hessel. 


MATISSE 
(Henri) 


Frencu: ConTEMPORARY 


106-—-TETE DE FEMME 
(Woman's Head) 
(Panel) 
Height, 13°4 inches; width, 101% inches 
Jrv black hair and eyebrows, dark brown eyes, and a face creamy and 


pink, and again more creamy. Light gown of an opalescent dove- 
gray. Background a bold green of mottled emerald note. 


COURBET 
(Gustave) 
Frencu: 1819—1877 


107—LA NEIGE SUR LE LAC LEMAN 
(Snow on Lake Geneva) 


Height, 15 inches; length, 18 inches 


E\VERGREENS dark, revealing only shadowy depths rather than their 
native color, beneath and between their heavily snow-weighted 
branches, the ends of the lower branches borne down to the snow- 
laden ground. The lake gray, leaden, under the lead-gray sky, and 
the sails of the boat a penumbral creamy-brown. Yet the whole dark- 
ening scene enlivened by the continuously descending flakes, which 
seem merely to make more attentive to their duties the two boatmen 
at either end of their craft. 


Signed at the lower left, Gustave CourBeET, *74. 


Presented by the painter to the Marquise Colonna, November 28, 1874, accom- 
panied by a letter thanking her for visiting him in his exile, and begging 
her to accept this “impression of the falling snow,” which it seemed to him 
had pleased her at the time of her visit. 


COROT 
(Jean Baptiste Camille) 
Frencu: 1796—1875 


108—ITALIENNE ASSISE A TERRE, ACCOUDEE SUR 
SA CRUCHE 


(Italian Woman Seated on the Ground, Leaning on Her 
Pitcher) 


Height, 12 inches; length, 15 inches 


Skirt deep blue and overskirt of scarlet; waist and cap white, and 
the broad apron light yellow barred in red and adorned in white. 
White stockings. ‘The pitcher a soft brown. She sits on a ground 
of pale yellowish-olive note, in a soft light before a nebulous back- 
ground of obscure brown. 


At lower left, “VENTE Corot”; and on back the seal of the Corot 


Sale. 


From the Chéramy Collection. 


Described and illustrated in Robaut’s ““L’Géuvre de Corot,” No. 1087, Vol. II. 


DELACROIX 
(Eugéne) 
Frencu: 1798—1863 


109—OV IDE CHEZ LES SCYTHES 
(Ovid Among the Scythians) 


Height, 13 inches; length, 164% inches 


THE exiled poet in rose, and enwrapped in a blue-green mantle, the 
semi-nude Scythians, with dark reddish-brown hair, showing in their 
rude clothing gray, reddish and green notes. (A sketch for the 
decoration of a “corner’—the fifth “bay’—in the library of the 


Chamber of Deputies, Paris.) 


Near bottom, to left of centre, the seal of the Delacroix Sale. 


COROT 
(Jean Baptiste Camille) 
Frencu: 1796—1875 


110—CHATEAU-THIERRY: VUE D’ENSEMBLE AVEC 
LA TOUR DE SAINT-CREPIN 


(Chateau-Thierry: General View with the Tower of 
Saint Crépin) 


Height, 84% inches; length, 171% inches 


Gray the bridge with its dual arches and gray the varied architecture 
of the town beyond, the soft predominant grayish tone lighted by 
creamy slants and corners where sunshine direct brings out the 
brighter hue of the walls. Distant hillsides are vague, while tree 
groups to right and left in the middle distance are bold in their dense 
green leafage, whether in sunshine or shadow. In the clothing of the 
standing figure in the boat, the characteristic Corot touch of red set 
off by white. 

Signed at the lower right, Coror. 


Described in Robaut’s “L’Guvre de Corot,” No. 1019, VO die 


DELACROIX 
(Eugéne) 
Frencu: 1798—1863 


11I—HERCULE RAMENANT ALCESTE DES ENFERS 
(Hercules Bringing Back Alcestis from Hades) 
(Canvas on Panel) 


Height, 12 inches; length, 181% inches 


ALceEstis in drapery of palest fleece-veiled sky-blue, which falls over 
the hon-skin of Hercules, her fairer flesh in a soft light against his 
swarthier skin and huge muscles. ‘The kneeling Admetus saluting his 
spouse appears in crimson and deep emerald, and a touch of scarlet 
is seen among the figures about the sacrificial altar at the left, while 
the figures in Hades, grasping serpents, are nude. 


Signed at bottom, to left of centre, Kuc. Detacrorx, 1862. 


From the Chéramy Collection. 


Formerly in the collection of Ernest Cronier. 


CEZANNE 
(Paul) 
Frencu: 1839—1906 


112--PORTRAIT DE MADAME CEZANNE 


Height, 1814 inches; width, 15 inches 


COMPLEXION warm, and the flesh reflecting sensitively the delicately 
varying tones imposed by softly colorful details of the surroundings 
—with here and there a shadow, itself transparent to the inveigling 
colors. Gray-blue peasant jacket closely buttoned, disclosing at the 
neck the red of the waist beneath. Neutral background of vague 
robin’s-egg suggestion. 


From the Pellerin Collection. 


TOULOUSE-LAUTREC 
(Henri de) 
Frencu: 1864—1904 


113—PORTRAIT DE CIPA GODESKI 
(Portrait of Cipa Godeski) 
(Board) 
Height, 20% inches; width, 1534, inches 
In dark blue coat, and with a blue-stemmed pipe, and dark hat a 
greenish-blue and with purplish suggestions. His scraggly beard is 


dark brown, yellowish reflections enliven his face; the background is of 
green and yellow-green foliage. 


Signed at the upper right, A Crea, HTLaurrec. 


From the Alphonse Kann Collection. 


as 
tes 


TOULOUSE-LAUTREC 
(Henri de) 
Frencu: 1864—1904 


114—PORTRAIT DE FEMME ASSISE 
(Portrait of a Woman Seated) 


Height, 181% inches; width, 1184 inches 


Her dark skirt bluish-green, and waist a light, semi-transparent 
greenish-yellow. The drapery beyond her shoulder lavender-blue, and 
the dark yellowish wall of the background having its color counter- 
part in her hair. The bowl back of her, light robin’s-egg blue. 


Signed at the upper right, HT-Laurrec, 790. 


From the Théodore Duret Collection. 


DELACROIX 
(Eugéne) 
Frencu: 1798—1863 


115—PAGANINI 
(Board) 


Height, 18% inches; width, 11% inches 


In conventional black, against a dark olive and neutral background, 
the sombreness intensified by the violinist’s black hair and relieved by 
the white at his throat—the violin showing only just enough of color 
to define itself—while the powerful, dreamy features of the man, 
and his expressive hands, come forth and gleam softly in flesh notes 
creamed against the dusky background. 


From the Chéramy Collection. 


Formerly in the Hermann, Perreau, and Champfleury Collections. 


COURBET 
(Gustave) 
Frencu: 1819—1877 


1146—TETE D’HOMME 
(Head of a Man) 


Height, 1614 inches; width, 13°84 inches 


Hus beard a light sandy-brown, in the full light which falls upon his 
face, darkening in the lower shadows; his deep-set eyes dark. Dark 
hat and coat, white collar, and a red cravat. Background a soft and 
dark olive. 

Signed at the lower right, G. Courser. 


COROT 
(Jean Baptiste Camille) 
Frencu: 1796—1875 


117—PORTRAIT DE FEMME 
(Portrait of a Lady) 
Height, 154 inches; width, 1284 inches 
Ricu golden-yellow hair with Titian tinges in its shadowy depths, 
and a complexion creamy, heightened with tints of rose. Her gown, 
dark in the shadows, reveals, where the light slants upon it about 


shoulder and breast, its fine plum-color, soft and rich in tone. The 
wisp of flowers in her hand, green with a blossom of red. 


Signed at the upper left, Corot. 


Described and illustrated in Robaut’s “L’Gtuvre de Corot,” No. 1390, Vol. ITI. 


DEGAS 
(Hilaire Germain Edgard) 
Frencu: 1834—1917 


118—PORTRAIT DE FEMME A MI-CORPS 
(Half-length Portrait of a Woman) 


Height, 18 inches; width, 15 inches 


Dark reddish-brown hair, hazel eyes, and warm complexion. Hat 
and garments a blackish-brown, with a suggestion of rose about the 
throat. Background of creamy olive notes, with the olive-yellow pre- 


dominating. 
Signed at the upper right, Deas. 


COROT 
(Jean Baptiste Camille) 
Frencu: 1796—1875 


119—LE LAC ALBANO, A CASTEL GANDOLFO 
(Albano Lake, at Gandolfo Castle) 
(Panel ) 


Height, 914 inches; length, 1534 inches 


Tue lake silver-blue, with gray and mauve reflections, and its shores 
in foreground and to the right green in a soft sunlight beneath a 
lightly veiled sky. The castle buildings sandy-gray and creamy, the 
far high bank of the shore beyond them dark in shadow. 


Stamp of the Corot Sale at lower left, and seal of the sale on back. 


From the Dutilleux Collection. 


Described and illustrated in Robaut’s “‘L’Qtuvre de Corot,” No. 160, Vol. I. 


GUILLAUMIN 
(Jean Baptiste Armand) 
Frencu: 1841— 


120—PAYSAGE 
(Landscape ) 


Height, 21 inches; width, 17 inches 


DELICATE mauve and cream clouds, in a sky robin’s-egg below and 
turquoise aloft, over distant and hazy-blue hills. In the middle dis- 
tance creamy buildings, with orange, brown and gray roofs, standing 
in a green countryside—the whole observed over the gray picket fence, 
and between the darker gray trunks and interlaced branches of the 
tall foreground trees. 


Signed at the lower right, A. GuitLtauMry, 776. 


BONNARD 
(Pierre) 
Frencu: 1867— 


121—FILLETTE A TABLE AVEC UN CHIEN 
(Little Girl at Table with a Dog) 
(Paper Board on Wood Panel) 


Height, 16 inches; length, 22 inches 


SHE is dressed for outdoors, in black and white coat and comfortable 
brown and blue cap, and loose muffler, and has stopped to give a lesson 
to her pet French poodle, or to put him through his table tricks, at a 
white-covered table on which there remain a ripe cheese of rich yel- 
low color and a blue cup and saucer. 


Signed at the lower right, Bonnarp. 


From the Bernard Goudchaux Collection. 


“~ 


ae 
=~) 
~~ af 


VUILLARD 
(E.) 


FRENCH: CONTEMPORARY 


122—PORTRAIT DE MADAME HESSEL 


Height, 2014, inches; width, 1234 inches 


Her features, hair and dress, the chair in which she sits and the 
immediate environment all are as if shimmering in sunshine, and the 
shadows which play about her cheeks are subtle. She is in rich but 
soft crimson and deep blue, and her armchair is upholstered in soft 
bluish-green. 

Signed at the lower left, E. Vurtuarp. 


RENOIR 
(Auguste) 
Frencu: 1841—-1919 


123—TETE D’ENF ANT 
(Head of a Child) 
(Pastel) 
Height, 221% inches; width, 191% inches 


Rosy cheeks little deeper in hue than the fire of his hair, which darkens 
in the thicker places. Blouse black. 


Signed at the lower right, Reno. 


MATISSE 
(Henri) 


Frencu: ConTEMPORARY 


124—_QUELQUES FLEURS DANS UN VASE 


(Flowers in a Vase) 


Height, 211% inches; width, 18 inches 


KNowwn also as “The Bouquet on the Bamboo Table,” the table on 
which the vase rests being framed in bamboo rods, in natural coloring. 
The flowers are purple-blue and mauve, with tinges of flame color, 
white, pink and pale golden-yellow. ‘The table-top is in dull olive 
notes and the background soft gray. | 


Signed at the lower left, Henri Matisse. 


From the Bernard Goudchaux Collection. 


—ie 


DEGAS 
(Hilaire Germain Edgard) 
Frencu: 1834—1917 


125—LA MODISTE 
(The Milliner) 
(Pastel) 
Height, 1814 inches; length, 241 inches 


In dark waist and olive-brown skirt, the milliner leans over, studying 
the hat which seems in color to match her own dress. Her companion 
is in blue waist, and the table cover is of dark red. Background 


neutral, in light notes. 
Signed at the upper right, Dreas. 


From the Roger Mara Collection. 


DELACROIX 
(Eugéne) 
Frencu: 1798—1863 


126—LE JARDIN DE GEORGE SAND A NOHANT 
(George Sand’s Garden at Nohant) 


Height, 18 inches; length, 22 inches 


LraraGE and grass green, blue-green and brownish-green, relieved by 
the brown of the tree-trunks, and all in variable shadow save for a 
sun-lighted meadow in a middle-distance hollow, while at left, on a 
middle-distance knoll, hollyhocks in blossom catch a slant of sunshine 
on its way to the meadow. 

Signed at the lower left, %¥ Dertacrorx. 


From the Chéramy Collection. 


Formerly in the collection of George Sand. 


PISSARRO 
(Camille) 
Frencu: 18380—19038 


127—LA MAISON DANS LE BOIS 
(The House in the Wood) 


Height, 19% inches; length, 251% inches 


In the masses of foliage a variety of greens, from the tender qualities 
in the sunlight to the deep tones in intermittent shadow where the 
leafage is dense. And still further variations, still green, in the par- 
tially shaded grass on the right, and the sunny clearing at the left, 
of the sunshine-dappled path in which, besides the equestrian, two 
peasant pedestrians are seen. 

Signed at the lower right, C. Pissarro, 1872. 


From the Henri Rouart Collection. 


MONET 
(Claude) 
Frencu: 1840— 


128—LH PONT DARGENTEUIL 
(Argenteull Bridge) 


Height, 191 inches; length, 251% inches 


Tue bridge in bluish-leaden-gray, the central support olive-gray—the 
latter, particularly, carrying its color tone to its reflections in the 
water, which in its further reaches ripples with pink and yellowish 
reflections from the distant shore line and from the yellow and reddish 
tall buildings of the left middle distance. 


Signed at the lower left, CLaupDE Monet. 


From the Roger Marz Collection. 


PISSARRO 
(Camille) 
Frencu: 18380—1908 


129—LE VILLAGE ENTRE LES ARBRES 
(The Village, Between the Trees) 


Height, 21 inches; width, 1714 inches 


Tue village as seen between the trees, the village not suggested but 
emphatically declaring itself, beyond the trees and seen between them, 
in sunshine under a fair sky, its buildings gray, white and creamy 
under roofs of thatch and tile of varying color. Earth-surface gray- 
ish-yellow, and green with herbage. The woman in the foreground 
in dark blue and brown, with a bluish-white apron. 


Signed at the lower left, C. Pissarro. 


COROT 
(Jean Baptiste Camille) 
Frencu: 1796—1875 


130—PORTRAIT DE M. ABEL OSMOND 


Height, 2114 inches; width, 171% inches 


A MAN of somewhat florid complexion, his hair and whiskers and eyes 
brown. Coat black, with white waistcoat and stock. Chair-back 
brown. Background neutral, of darkest olive. 


Signed at the lower left, Corot, 1829. 


Described and illustrated in Robaut’s “L’C@uvre de Corot,” No. 205, Vol. I. 


WHISTLER 
(James MacNeill) 
AMERICAN: 1834—1903 


131—_CHELSEA GIRL 


Height, 1934 inches; width, 12 inches 


AN expressive head, carried to completion in its modeling and color 
against the desired dark olive background,—figure and a nondescript 
apparel finely suggested, only, with a loose brush and in browns on a 
pale olive. The pensive young girl has a wealth of light brown hair, 
darker in its shadowy depths, and her hat, of deeper brown, is adorned 
with a yellowish and red feather. 


From the Madame B.... Collection. 


COURBET 
(Gustave) 
Frencu: 1819—1877 


132—PORTRAIT D’ENFANT 
(Portrait of a Child) 


Height, 23 inches; width, 19 inches 


Bionp hair and creamy complexion, with blue eyes and pink cheeks. 
Hair-ribbon blue, and the checked frock a soft mixture of bleu-de-ciel 
and white. Chair-back red-brown, and background a neutral dark 
green. 

Signed at the lower left, G. Coursert, 69. 


A statement in ink on the stretcher identifies the child as the daughter of a 
Mayor of Pontarlier, on the Swiss border. 


COURBET 
(Gustave) 


Frencu: 1819—1877 


1383—LH GUITARRERO 
(Man Playing Guitar) 


Height, 211% inches; width, 16 inches 


Dark red hose and creamy-gray doublet, and brown cape with lining 
striped in blue and light gray. Hair and beard red-brown. Gray hat 
with scarlet feather; and varied gray rocks in a green landscape where 
sunshine and shadow play under a gray and blue sky. 


Signed at the lower right, GustavE CourBET, 1844. 


From the Faure Collection. 


From the collection of the Prince de Wagram. 


RENOIR 
(Auguste) 
Frencu: 1841—1919 


134—BOUQUET DE CHRYSANTHEMES 
(Bouquet of Chrysanthemums) 


Height, 251% inches; width, 21 inches 


In a globular jar of rich aubergine tones, the eccentric blooms stand 
forth in a soft, diffused light, exhibiting among their colors light 
golden-yellow, pink, crimson, flame, green and white, against a neutral 
azure-and-greenish background. 

Signed at the lower right, Renorr. 


From the private collection of M. Joseph Hessel. 


CASSATT 
(Mary) 


AMERICAN: CONTEMPORARY 


135—PORTRAIT DE FEMME DE PROFIL 
(Woman in Profile) 


Height, 28 inches; width, 22%4 inches 


In a window light which reveals and brings with it a confusion of 
colors and reflections, with a suggestion of the aspect of a garden, a 
full light meeting her rosy cheeks and burnishing her golden and red- 
dish hair. Her hat is light and greenish in tone, and trimmed with 
deeper green, and her waist shows deep green and a rich dark blue. 


Signed at the upper left, Mary Cassatt. 


COURBET 
(Gustave) 
Frencu:, 1819—1877 


136—TOUFFE DE FLEURS 
(4 Bunch of Flowers) 


Height, 20 inches; length, 24 inches 


Wuitr, pink and red blossoms, in their several forms and varieties, 
some peering in mauve from the shadows, upon and among stems of 
green leaves of their particular species. 


Signed at the lower left, Gustave CourRBET. 


From the private collection of M. Joseph Hessel. 


PISSARRO 
(Camille) 
Frencu: 1830—1903 


137--LE SENTIER GRIMPANT 
(The Climbing Way) 


Height, 21 inches; length, 2584 inches 


GRraAyY-BUFF the bare, climbing way, winding over the shrubbery-bor- 
dered crest, below which all is verdure, beyond a transverse stone wall 
low in the foreground. Seen between the trees and beyond the wall, 
creamy buildings of the French countryside bright in sunshine, with 
their varied roofs yellow and orange and sandy-red, blue and gray. 
Above the last roof, three poplars rise from a hillside. 


Signed at the lower right, C. Pissarro, 1875. 


On back, stamp of the “Donop de Monchy Collection, No. 110.” 


CASSATT 
(Mary) 


AMERICAN: CONTEMPORARY 


1388—PORTRAIT DE FEMME TENANT UN EVEN- 
TAIL 


(Portrait of a Woman Holding a Fan) 
(Pastel) 


Height, 26 inches; width, 201% inches 


SANDY-RED hair, warm in tone, and her fan a rich yellow before her 
eray-pink gown, which is topped by its soft neck scarf of greenish 
note. Before the deep crimson upholstery of the chair, a confusion 
of draperies or cushions indicated in several colors. 


Signed at the lower left, Mary Cassatt. 


From the Roger Mar« Collection. 


DEGAS 
(Hilaire Germain Edgard) 
FrencH: 1834—1917 . 


139—LA TOILETTE 
(The Toilet) 
(Pastel) 


Height, 2634 inches; width, 2034 inches 


THE corset covering black, with robin’s-egg blue edge, over the white 
under-vestments, and light grayish skirt. ‘The lady’s hair is a brilliant 
golden-yellow, and her mirror stands against a wall of rich blue, while 
the pitcher and bowl are orange-pink on the white top of the dresser. 


Signed at the upper left, Drcas. 


CASSATT 
(Mary) 


AMERICAN: CONTEMPORARY 


140—FEMME APPRENANT A LIRE A UNE PETITE 
FILLE 


(Woman Teaching a Small Girl to Read; or, “The 
Reading Lesson’) 


(Pastel) 


Height, 234% inches; length, 2834 inches 


Own a brilliant green and sunny lawn, and partly in transparent 
shadow, the mother in a blue gown which shows a shimmer of green 
and yellow, the child’s frock mauve. The child’s hair a warm red-gold, 
the mother’s much darker. At right in the rear the base of a red house 
comes into view. 

Signed at the lower left, Mary Cassatt. 


PICASSO 
(Pablo) 


FRENCH: CoNTEMPORARY 
141—-PAYSAGE 
(Landscape) 
Height, 19 inches; length, 25 inches 
Herpace and foliage in soft light greens, the stream in the middle- 
ground reflecting the deep blue of the sky, which is banked with white 


clouds. Buildings gray, brown, white and cream, and their many- 
pointed roofs grayish, red, and light and dark purple. 


Signed at the lower left, Picasso, 719. 


A LEP ep 


TOULOUSE-LAUTREC 
(Henri de) 
Frencu: 1864—1904 


142—PORTRAIT DE FEMME 
(Portrait of a Woman) 
( Board) 


Height, 2684 inches; width, 21°34 inches 


BiLvuE eyes misty, but neither mystic nor mysterious, in a face of 
creamy flesh which seems to lend its flexible surface readily and sym- 
pathetically to the commingled reflections of the varied surroundings 
—whose notes are quietly colorful, in neutral tones. Gown of green- 
ish blue-black, with which fuse themselves still other soft, low tones. 


Signed at the lower left, HTL (monogram). 


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PUVIS DE CHAVANNES 
(Pierre) 
Frencu: 1824—1898 


143—CONCORDIA 


Height, 2324 inches; length, 3144, inches 


I'icures partly nude, in the softened light of a woodland’s edge, the 
turf beneath them a dark, rich green, the stream at the side gray and 
white. ‘Their assorted, informal apparel disclosing notes of brown, 
gray, blue and white, black, purple-pink and crimson. Sunshine gilds 
a green hillside in the background. (The frame, with garlands on a 
dark azure ground, was also painted by Puvis.) 


Signed at the lower left, \ MapaME GauTIER; SON AMI, P. Puvis DE 
CHAVANNES. 


From the Hanson Collection, Copenhagen. 


so ee en : 
Fn nna es 


MATISSE 
(Henri) 


FrencH: CONTEMPORARY 


144—LA FENETRE SUR LE JARDIN 
(The Garden Window) 


Height, 311% inches; width, 251% inches 


BRILuiAnt cerulean sky crossed by gray-white cloud-banks, over a 
rough garden of light and rich green—the gable at the left, salmon- 
color under a roof of dark slate-gray. The table within the window 
and the objects it supports, a broad color display of greens and reds 
and yellows and blues. 


Signed at the lower right, Henrr Matisse. 


CEZANNE 
(Paul) 


Frencu: 1839—1906 


145—PAYSAGE A LVVESTAGUE 
(Estague Landscape) 


Height, 25 inches; length, 311% inches 


MeE.uow coloring,—a varied assemblage of warm, creamy orange- 
browns, with subdued flashes of reds—in earth, and walls and roofs, 
all relieved by varied greens in foliage and shrubbery, under a nebu- 
lous bluish-gray sky. 


From the Alphonse Kann Collection. 


From the Hanson Collection, Copenhagen. 


RENOIR 
(Auguste) 
Frencu: 1841—1919 


146—LA BAIGNEUSE 
(The Bather) 


Height, 33 inches; width, 2614 inches 


BackGrounpD a confusion of color, as of a wood interior; dominantly 
green, but showing a variety of natural, highly chromatic neighbors, 
and penetrated freely by softening lights. The admixture of the 
reflections on the light flesh of the nude bather continues the chro- 
matic medley with harmonics. The draperies in the bather’s hand are 
white and blue. Her cheeks are rosy and she has golden-blond hair. 


Signed at the upper right, Renor. 


DEGAS 
(Hilaire Germain Edgard) 
Frencu: 1834—1917 


147—LA SORTIE DU BAIN 
(Quitting the Bath) 
(Pastel) 


Height, 21 inches; length, 27 inches 


THE aerial tones warm and mellow over the palpitant flesh, relieved 
by the delicately varying shadows of muscular resilience; the linen 
white on a ground of orange-red and pale yellow; the tub green-white. 


Signed at the lower left, Deas. 
From the Degas Studio Sale. 


CEZANNE 
(Paul) 


Frencu: 1839—1906 


148—PAYSAGE DE PROVENCE 
(Provence Landscape) 


Height, 314% inches; width, 25 inches 


GREEN turf and foliage, tree trunks gray and a warm russet-red; and 
between the trunks and amid the verdant luxuriance orange roofs be- 
low a gray-white and gray-blue sky. In the short foreground are all 
of the colors of the greater scene. 


DEGAS 
(Hilaire Germain Edgard) 
Frencu: 1834—1917 


149—PORTRAIT DE FEMME 


(Portrat of a Woman) 
Height. 3244 inches; width, 291% inches 


Cap in a plain gown of soft seal-brown, relieved by the soft white 
collar at her throat. Dark hat and dark hair; her creamy face rosy in 
the cheeks. The sofa a soft gray-white, with a creamy flash in the high 
light on the arm. Neutral background, gray and blackish. 


Signed at the upper left, Drcas. 


TOULOUSE-LAUTREC 
(Henri de) 
Frencu: 1864—1904 


150—PORTRAIT DE M. SESCAUT 


Height, 3914 inches; width, 2084 inches 


In a studio, with paintings stacked on the floor, and on the wall a kake- 
mono. Monsieur wears a dark greenish coat and purplish-drab trous- 
ers, and the wall behind him is a greenish-blue. His complexion, 
naturally a bit florid, seems by reflections to share in the colors of his 
environment. 

Signed at the lower left, HT Laurrec, 91. 


From the Roger Marx Collection. 


COURBET 
(Gustave) 
Frencu: 1819—1877 


151—ESQUISSE POUR LES DEMOISELLES DES 
BORDS DE LA SEINE 


(Sketch for the Damsels of the Seine Banks) 


Height, 35 inches; length, 46 inches 


Tue demoiselle clasping the large bundle of flowers is clad in rose, 
her companion in white lawn with overhanging golden and rose-brown 
draperies, the former reclining in the shadow of the trees and the 
latter prone in a sunlight not harsh but softened. Green the sward 
about them, and dark green the leafage overhead, while sky and river 
are alike blue, with light nebulous reflections. 


From the Madame de Taste Collection. 


GAUGUIN 
(Paul) 
Frencu: 1848—19038 


152—MATERNITE (TAHITI) 
(Motherhood—Tahitt) 


Height, 364% inches; width, 2314 inches 


Tuer baby sharing its mother’s loin-cloth of curiously mottled light 
green,—the only clothing of the two—their coppery nudity relieved 
against the rich and deep lush green of the verdure upon which they 
rest. The standing figures in crimson (at the centre) and indigo-blue 
(left) skirts, the one clasping a garland, the other carrying rich green 
tropical fruits both in basket and hand. ‘These stand before a sunset- 
yellow sky crossed by a mauve cloud. 


Signed at the lower right, Paut Gaveurn. 


From the Alphonse Kann Collection. 


DEGAS 
(Hilaire Germain Edgard) 
Frencu: 1834—1917 


1583—_LA BAIGNEUSE 
(The Bather) 
(Pastel) 
Height, 35 inches; width, 281% inches 
Tue tree-trunk gray and reddish-brown, springing from turf of warm 
springtime-green, on which le the bather’s white and deep blue drap- 
eries, while over her shoulders is brought one of a delicate robin’s-ege 


hue. ‘The flesh tones rich in a variety of refractions of the surrounding 
lights, with a delicately permeative rose suffusion. 


Signed at the lower right, Dreas, ’85. 


SEURAT 
(Georges Pierre) 


Frencu: 1859—1891 


154—JHUNE FEMME SE POUDRANT 
(Young Woman at Her Powder-box) 


Height, 37 inches; width, 31 inches 


Her bodice in its reddish-mahogany notes almost matches her hair, 
her skirt is only more creamy than her supple flesh, the table surface is 
an iridescence of gold and red and blue, the background of all a vari- 
able robin’s-egg soufflé. Her cheeks are rose-hued, her eyes dark. 
From the Fénéon Collection. 

Seurat Exposition, Bernheim Jeune & Cie., Paris, 1890. 

Société des Artistes Indépendants Exposition, 1890. 


Berlin Secession Exposition, 1913. 


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COURBET 
(Gustave) 
Frencu: 1819—1877 


155—ETUDE DE CHIEN POUR L’/ENTERREMENT 
DORNANS 


(Study of a Dog, for the Interment at Ornans) 
[Ornans, the birthplace of Courbet, near Besancon ] 


Height, 25 inches; length, 31 inches 


Tue hound brown and white, the grass beneath him and to left a pale 
green in a fading light—just enough light to permit the shadows of 
his legs to be seen—the hillside landscape to right and its trees dark 
brown in deep shadow, as the light is dimming. 


Signed at the lower left, G. CourneT, 1856. 


From the Marczell de Nemes Collection. 


Exhibited at the Diisseldorf Museum, 1912; No. 63. 


CEZANNE 
(Paul) 
Frencu: 1839—1906 


156—GRANDE NATURE MORTE 
(Still Life) 
Height, 264% inches; length, 35°4 inches 


Luscious fruits red, golden and green, as they lie in high lights and 
soft shadows on draperies blue and creamy-white. Tumbler, dish and 
a polychromatic pitcher add their colorful contributions to the group 
of fruits, and share severally in the bewitchment of the many reflec- 
tions. 


From the Gangniat Collection. 


VAN GOGH 
(Vincent) 
Frencu: 18538—1890 


157—-LA CUEILLETTE DES OLIVES 
(Gathering the Olives) 
Height, 28% inches; length, 3854 inches 
Fo.taGE green, earth a purplish-brown and yellow, the sky suffused 
with pink; all, alike, wavy and tortuous. Of the harvesters, she on 
the ladder is in purple-gray, she in the foreground in mauve waist and 


pale green skirt, and the companion between them is in pale blue. (A 
paster on the back gives the canvas to 1888 or 1889.) 


From the collection of M. Bernard Goudchaua. 


—— a ee hy 


DEGAS 
(Hilaire Germain Edgard) 
Frencu: 1834—1917 


158—DEUX DANSEUSES ASSISES 
(Two Ballet Dancers Sitting Down) 
(Pastel) 
Height, 291% inches; length, 42 inches 
Boru in soft grayish-blue skirts, with gauzy-black waists over the 


buff, and warm pink stockings and slippers—the background light 
greenish-yellow, with orange areas, and the foreground deeper green. 


At lower left, stamp of the Degas Studio Sale. 


From the Degas Studio Sale. 


" 


COURBET 
(Gustave) 
Frencu: 1819—1877 


159—-PORTRAIT DE LA SQUR DE LARTISTE 
(Portrait of the Artist's Sister) 


Height, 4914 inches; width, 3834 inches 


SOMETIME known as “Ta femme aux manches rouges’—a title which 
the canvas gives itself through the red undersleeves that puff out 
above the sitter’s wrists—almost the sole relief from the sombreness 
of her black gown. The color reappears, restrainedly, in the small 
bow at her neck, held by a gold brooch. 


From the Madame de Taste Collection. 


MATISSE 
(Henri) 


Frencu: ConTEMPORARY 


160—LA FENETRE 
(The Window) 


Height, 5714 inches; width, 46 inches 


A wIinbow interior, the walls a vivid green, and white, a glimpse out 
through the window and over a balcony railing giving a view of a 
single tree, with black, bifurcate trunk, and also of indefinite light 
greenery beyond it. The chairs at right and left are black and green, 
the table between them is red-brown and the (myosotis) flowers on it 
are a brilliant bluish-purple over a base of greenery. [On back, H. 
Matisse, Issy (Seine); and on stretcher, Interieur (Les Myosotis) 


1916. | 
Signed at the upper left, Henrit Matisse. 


Direct from the artist. 


RENOIR 
(Auguste) 
Frencu: 1841—1919 


161—TANNHAUSER. DEUX DESSUS DE PORTES 


(Esquisse d’une décoration pour le Dr. Blanche) 


(Trannhduser. Two Over-doors) 
(Sketch for a Decoration for Dr. Blanche) 


Height (each), 22% inches; length, 5534 inches 
ScENEs in the Venusberg, the nude and the clothed figures more or 


less nebulous before nebulous backgrounds—warm rose predominant 
in one scene, a deep blue background dominating the other. 


Signed, the rose canvas at the lower left, the blue one at the lower 
right, both, Renorr, 779. 


ue 


LIST OF ARTISTS REPRESENTED 
AND THEIR WORKS 


LIST OF ARTISTS REPRESENTED 
AND THEIR WORKS 
CATALOGUE 
BARYE, Antoine Louis ae 
Tigre couché dans la Brousse (Tiger at Rest in the Brush) 85 


BONNARD, Prrrre 


Les Courses 4 Boulogne (Boulogne Race Track) 35 
Femme a Table (Woman at a Table) 43 
Fillette 4 Table avec un Chien (Little Girl at Table with 
a Dog) 121 
CAMOINS 
Le petit Port (Small Harbor of a Seaport) 70 


CASSATT, Mary 


Jeune Femme assise (Young Woman Seated) 66 

Portrait de Femme de Profil (Woman in Profile) 135 

Portrait de Femme tenant un Eventail (Portrait of a 
Woman Holding a Fan) 138 


Femme apprenant a lire a une petite Fille (Woman 
Teaching a Small Girl to Read; or, “The Reading 
Lesson’) 140 


CEZANNE, Pavt 


Deux Arbres (Two Trees) 20 
Géranium (Geranium) 31 
Quatre Péches dans une Assiette (Four Peaches on a 
Plate) 96 
Portrait de Madame Cézanne 112 
Paysage a |’Kstague (Hstague Landscape) 145 
Paysage de Provence (Provence Landscape) 148 


Grande Nature morte (Still Life) | 156 


CATALOGUE 
NUMBER 


CHAHINE, Enpcarp 
Portrait de Femme (Portrait of a Woman) 82 


COROT, JEAN BaprtistE CAMILLE 

La petite Séraphine, vétue de Gilet de Corot dans sa 
Chambre a Arleux (Little Seraphina Dressed in 
Corot’s Waistcoat in Her Chamber at Arleux) 48 

Italienne assise a ‘Terre, accoudée sur sa Cruche (Italian 
Woman Seated on the Ground, Leaning on Her 
Pitcher) 108 

Chateau-Thierry: Vue d’ Ensemble avec la Tour de Saint- 
Crépin (Chdteau-Thierry: General View with the 


Tower of Saint Crépin) 110 
Portrait de Femme (Portrait of a Lady) 117 
Le Lac Albano, a Castel Gandolfo (Albano Lake, at 
Gandolfo Castle) 119 
Portrait de M. Abel Osmond 130 
COUBINE 
Téte de Femme (Woman’s Head) 9 
Téte de ’emme (Head of a Woman) 40 


COURBET, Gustave 


Nature morte (Stal Life) 49 
La Mer (The Sea) 53 
La Neige sur le Lac Léman (Snow on Lake Geneva) 107 
Tete d Homme (Head of a Man) 116 
Portrait d’ Enfant (Portrait of a Child) 132 
Le Guitarrero (Man Playing Guitar) 133 
Touffe de Fleurs (A Bunch of Flowers) 136 
Esquisse pour les Demoiselles des Bords de la Seine 

(Sketch for the Damsels of the Seine Banks) 151 
Etude de Chien pour l’Enterrement d’Ornans (Study of 

a Dog, for the Interment at Ornans) 155 


Portrait de la Sceur de l’ Artiste (Portrait of the Artist's 
Sister) 159 


CATALOGUE 
NUMBER 


DAUMIER, Honort 
Portrait de M. Lavoignat ) 50 
Groupe de trois Personnages (Group of Three Persons) 90 
Femme et Enfant sur un Pont (Woman and Child on a 


Bridge) 92 
Téte d’ Homme (Head of a Man) 05 
Buste de Femme (Bust Portrait of a Woman) 102 


DAVIES, Arruur B. 


Athlete 2 
Wrestlers 3 
Figure Drawing 16 
Nude Study ly 
Seated Girl 26 
A Pool of Fragrance 58 
The Summit Thicket 76 
Shadow Valley 78 
Velvet-eyed Venus 80 


DEGAS, Hinarret Germain Epcarp 


Portrait of M. Rouget 8 
Le Ballet (The Ballet) 91 
Etude de Fillette pour le “Portrait de Famille” (§ tudy 

of a Small Girl for the “Family Portrait’) 101 
Portrait de Femme a mi-corps (Half-length Portrait of a 

Woman) 118 
La Modiste (The Milliner) 125 
La Toilette (The Toilet) 139 
La Sortie du Bain (Quitting the Bath) 147 
Portrait de Femme (Portrait of a Woman) 149 
La Baigneuse (The Bather) 153 


Deux Danseuses assises (7'wo Ballet Dancers Sitting 
Down) 158 


CATALOGUE 
NUMBER 


DELACROIX, EvucENrE 
Esquisse pour le Tableau le “Giaour et le Pacha” (Sketch 


for the Painting, “The Giaour and the Pacha’) 93 
Ovide chez les Scythes (Ovid Among the Scythians) 109 
Hercule ramenant Alceste des Enfers (Hercules Bring- 

ing Back Alcestis from Hades) 111 
Paganini 115 
Le Jardin de George Sand a Nohant (George Sands 

Garden at Nohant) 126 


DENIS, Maurice 
Etude de Nu (Study of the Nude) 1 


DERAIN, Anpri: 


Portrait de jeune Fille (Portrait of a Young Girl) 4 
Nu (Nude) 6 
Groupe de Femmes (Group of Women) 14 
Dos de Femme (4 Woman’s Back) 15 
Etude de Nue (Nude Study) 18 
Le Pin (The Pine) 21 
Portrait de jeune Fille: Dessin au Crayon (Portrait of a 
Young Girl: Pencil Drawing) 23 
Nature morte: Verre et Fruits (Still Life: Glass and 
Fruits) 30 
La Route (The Road) 36 
Roses dans un Pot (Roses in a Jug) 37 
Portrait de Soldat (Portrait of a Soldier) 42 
Petit Paysage (Landscape) 4S 
Vue de Cahors (View of Cahors) 46 
Buste de Femme (Bust Portrait of a Woman) 51 
Paysage (Landscape) 79 
Vase de Fleurs (Vase of Flowers) 97 


DUFY, Raovun 
Nature morte (Still Life) AT 
Paysage: S. Paul (Landscape: St. Paul) 64 


CATALOGUE 


NUMBER 
DUREY, Rent 
La Ville (The Town) 69 
Le Village (The Village) 74 
FOURNIER, Gasrien 
Paysage (Landscape) 59 
EFRIESZ, Ornon 
Une Rue de Honfleur 38 
Les Mats derriere les Maisons (The Masts behind the 
Houses) 5D 
GAUGUIN, Paut 
Maternité (Tahiti) (Motherhood—Tahitt) 152 
GOYA Y LUCIENTES, Francesco 
Deux 'Tétes (Two Heads) 81 
GUILLAUMIN, Jean Baptiste Armand 
Paysage: Le Matin (Landscape: Morning) 61 
Paysage (Landscape) 67 
Paysage (Landscape) 120 
GUYS, Constantin Ernest HyaAcInTHE 
La Promenade (The Promenade) 87 
INGRES, JEAN AvucusTE DOMINIQUE 
Portrait de Paganini 10 
Portrait de Berlioz 11 
LEBOURG, ALBERT 
Les Bords de la Seine (The Banks of the Seine) SG .E wie 
LOTIRON 
Le Pont Marie (The Marie Bridge) 25 


MANET, Epovarp 
Chez Tortoni (At Tortont’s) 104 


CATALOGUE 
NUMBER 

MATISSE, Henri 

Téte de Villette (Head of a Young Girl) 

Femme nue (Female Figure in the Nude) 

Petite Fille (Granddaughter ) 

Portrait de Femme accoudée sur un Fauteuil (Portrait 

of a Woman Leaning on her Elbow in an Armchar) 65 


bo 
bes HE hes JS 


—Téte de Femme (Woman's Head) 106 
Quelques Fleurs dans une Vase (Flowers in a Vase) 124 
La Fenétre sur le Jardin (The Garden Window) 144 
La Fenétre (The Window) 160 
MILLET, Jean Francors 
Les Blés murs (The Ripened Grain) 86 
MONET, CrLaupE 
Le Pont d Argenteuil (Argentewil Bridge) 128 
MORISOT, BrerruHE 
Au Bord de Eau (At the Waterside) 99 
ORTIZ, Jost 
Buste de Femme (Bust Portrait of a Woman) | 52 
PICASSO, Pasto 
Homme assis (Man Seated) 13 
Nature morte (Stil Life) 32 
Petite Nature morte (Still Life) 33 
Téte de Femme (Woman’s Head) 39 


Portrait de jeune Femme (Portrait of a Young Woman) 57 

Grande Nature morte: Le Compotier (Stil Life: The 
Compote Dish) 75 

Paysage (Landscape) 141 


PISSARRO, CamiLie 
La Seine 4 Rouen: Effet de Brouillard (The Seine at 


Rouen: Fog Effect) 68 
La Maison dans le Bois (The House in the Wood) 127, 
Le Village entre les Arbres (The Village, between the 

Trees) 129 


Le Sentier grimpant (The Climbing Way) 137 


CATALOGUE 
NUMBER 
PUVIS DE CHAVANNES, Pierre 
Concordia 143 


RENOIR, Avcustr 


Portrait de Femme (Portrait of a Woman) 22 
Portrait d'une Fillette (Portrait of a Little Girl) 28 
Fleurs (Flowers) 29 
Bouquet de Roses (Roses) 34 
Portrait de Mme. Paul Galimart AI 
Portrait de Femme en Chapeau de Paille (Portrait of a 
Lady in a Straw Hat) 88 
Buste de Femme (Bust Portrait of a Woman) 89 
Portrait de Femme en Toilette de Ville (Portrait of a 
Lady in Walking Dress) 94 
Portrait d’ Homme étendu sur un Sofa (Portrait of a 
Man at Ease on a Sofa) 98 
Portrait de Madame Ed. Maitre 103 
Portrait de M. et Mme. Benjamin Godard 105 
Téte d’ Enfant (Head of a Child) 123 
Bouquet de Chrysanthemes (Bouquet of Chrysanthe- 
MUMS ) 134 
La Baigneuse (The Bather) 146 
Tannhauser. Deux Dessus de Portes (Tannhduser. 
Two Over-doors) 161 


RIVIERE, Henri 


Sous le Pont des Arts (Under the Bridge of the Arts— 
the bridge across the Seine leading to the Louvre) 84 


SEURAT, Gerorces PIERRE 
Femme et Enfant (Woman and Child) 12 
Garconnet accroupi (Seated Boy) 19 
Une Périssoire: La Seine a la grande Jatte (4 Canoe: 
The Seine at the Great Bowl) 24 
Jeune Femme se poudrant (Young Woman at Her 
Powder-box) 154 


CATALOGUE 
NUMBER 
SIGNAC, Pavurt 
Marseille (Marseilles) 60 


SISLEY, ALrrep 
Dans les Vignes 4 Louveciennes, 1874 (In the Louwve- 
ciennes Vineyards, 1874) 5A 


TOULOUSE-LAUTREC, Henri pr 
Portrait de Cipa Godeski (Portrait of Cipa Godeskt) 113 
Portrait de Femme assise (Portrait of a Woman Seated) 114 
Portrait de Femme (Portrait of a Woman) 142 
Portrait de M. Sescaut 150 


UTRILLO, Maurice 


Le Chateau (The Castle) 62 
La Rue (The Street) 71 
Effet de Neige (Snow Effect) 72 


VAN GOGH, VINCENT 
Portrait de PArtiste par lui-méme (Self-portrait of the 


Artist) 100 

La Cueillette des Olives (Gathering the Olives) 157 
VLAMINCK 

Border of the Seine 56 

Dans la Foret (In the Forest) 63 

Bords de Riviere (Banks of the River) 73 


VUILLARD, E. 


Fille en Bleu (Girl in Blue) AA, 
Devant la Glace (At the Mirror) 83 
Portrait de Madame Hessel 122 


WHISTLER, James MacNeinu 
Chelsea Girl 131 


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